


















































































Copyright N?_ 


COPYRIGHT DEPOSIT. 






























♦ 


Jewish Festivals in 
The Religious School 












1 






UNION GRADED SERIES 

For Jewish Religious Schools 

COMMISSION ON JEWISH EDUCATION 

of the Union of American Hebrew Congre¬ 
gations and the Central Conference 
of American Rabbis 

Dr. David Philipson, Chairman 

Dr. H. G. Endow 

Dr. Rudolph Grossman 

Dr. Louis Grossmann 

Dr. Max Heller 

Dr. Kaufmann Kohler 

Rabbi Harry Levi 

Dr. Louis L. Mann 

Rabbi David Marx 

Dr. Julian Morgenstern 

Dr. Joseph Rauch 

Dr. William Rosenau 

Dr. Samuel Schulman 

Dr. Abram Simon 

Dr. Henry Slonimsky 

Rabbi George Zepin, Secretary 



JEWISH FESTIVALS IN 
THE RELIGIOUS SCHOOL 


A HANDBOOK FOR ENTERTAINMENTS 


BY 

ELMA EHRLICH LEVINGER 

M \ 

Formerly Entertainment Director 
Bureau of Jewish Education, New York City. 


AUTHOR OF 


“The Boy Who Fit In,” “The Jewish Holiday Stories,” 
“The New Land,” “Playmates in Egypt,” Etc., Etc. 





CINCINNATI 

The Union of American Hebrew Congregations 

1923 



"BM i a>s 


Copyright 1923 

BY 

The Union of American Hebrew Congregations 



JUL -g ’23 


©C1&711112 

VI ( 


©0 

A dnob Skadar 

ttjia bonk far traders fa 
gratefully brbirateb. 




\ 





PREFACE 

This volume is intended to serve both as a guide 
to those who desire to give holiday entertainments and 
as a source book containing program material for the 
Jewish festivals. The instructions on staging, coach¬ 
ing, etc., are intended primarily for teachers and club 
leaders with no dramatic training. The material pre¬ 
sented, much of it appearing for the first time in book 
form, should be welcome to both the amateur and pro¬ 
fessional dramatic teacher, as well as to club leaders 
desirous of giving Jewish entertainments of a more 
informal character. 

In addition to explicit directions for preparing the 
program, I have given enough material to furnish 
three model programs for Succoth, Chanukah, Purim, 
Passover and Shabuoth, the programs for the last- 
named being suitable for Closing Day exercises of the 
Religious School as well. In arranging these pro¬ 
grams I have been guided in my choice of material by 
pedagogical principles, believing that dramatics have 
a distinctly educational value in the curriculum of the 
Religious School. For this reason many charming 
plays and recitations without educational or distinctly 
Jewish value have been omitted. 

It would be impossible to thank by name the many 
Religious School superintendents and teachers whose 
suggestions have aided me in writing this book; so* I 
make indention only of Dr. S. Benderly, of New York 
City, who first worked out with me the principles 
which have guided me in this work, and my husband, 
who has aided both as censor and constructive critic. 

Elma Ehrlich Levinger. 
Wilmington, Del., April, 1923. 



CONTENTS 


PREFACE. 

PART I 

A Handbook for Entertainments Page 

INTRODUCTION. 

Preparation of Holiday Entertainments in the Religious 
School. 3 

SUCCOTH. 

In the Class-room. lg 

Stories About Succoth. 28 

The Succoth Program. 30 

Plays for Succoth. 34 

Model Program 1. 35 

Model Program II. 45 

CHANUKAH. 

In the Class-room. 53 

Stories About Chanukah. 64 

The Chanukah Program. 66 

Plays for Chanukah. 69 

Model Program 1. 71 

Model Program II. 91 

Model Program III. 103 

PURIM. 

In the Class-room. Ill 

Stories About Purim. 117 

The Purim Program. 118 

Plays for Purim. 123 

Model Program 1. 125 

Model Program II. 141 

Model Program III. 150 


IX 























X 


CONTENTS 


PASSOVER. Page 

In the Class-room. 159 

Stories About Passover. 173 

The Passover Program. 175 

Plays for Passover. 177 

Model Program 1. 179 

Model Program II. 186 

Model Program III. 198 

SHABUOTH. 

In the Class-room. 209 

Stories About Shabuoth. 215 

The Shabuoth Program. 217 

Plays for Shabuoth. 221 

Model Program 1. 223 

Model Program II. 233 

Model Program III. 248 

APPENDIX. 251 

PART II 

Plays, Pageants and Tableaux 

SUCCOTH. 

How Succoth Came to Chayim. 263 

The Golden Staff—An Operetta. 279 

CHANUKAH. 

The Unlighted Menorah—A Fantasy. 305 

The Light of Israel. 317 

PURIM. 

A Sick Purim. 351 

The Star of Judah—Play with Tableaux. 375 

The Pageant of Esther. 407 
























CONTENTS 


XI 


PASSOVER. Page 

The Silver Cup—A Folk Play. 449 

Out of Egypt. 465 

SHABUOTH OR CLOSING DAY EXERCISES. 

Ruth of Moab—A Springtime Play. 503 

Let There Be Light—A Pageant. 517 

PLATES FOR COSTUMES. 551 

BIBLIOGRAPHY. 574 


TOPICAL INDEX 


579 










Part I 


A HANDBOOK 
FOR 

ENTERTAINMENTS 






INTRODUCTION 


Preparation of Holiday Entertainments 
in the Religious School 

HE place of the holiday entertainment in the reli- 



1 gious school is no longer a question of debate. 
Its purpose at first glance seems to be merely to amuse 
the pupils. But it is not enough for the holiday en¬ 
tertainment to be amusing. If so, why such excite¬ 
ment year after year, why such overworking of unen- 
thusiastic teachers and coaching of children who often 
have to be bribed or bullied into attending rehearsals? 
Why not amuse the children in the easiest way pos¬ 
sible—as not ia few Sabbath Schools have done on 
Chanukah or Purim—by engaging professional per¬ 
formers, or by hiring a picture show for the after¬ 
noon? The children will be far more amused than by 
the feeble efforts of poorly-trained fellow pupils in a 
hastily prepared entertainment. 

If, on the other hand, we wish to instruct the child 
as well as amuse him, our holiday entertainments 
must be planned with the double aim of amusement 
and instruction in view. Educators have long ago 
agreed that the dramatic method is one of the most 
effective means employed in pedagogy. The Exodus 
thrills the child with a strange awe when he beholds 
the persecuted ones of Egypt pausing to glorify God 
beside the Red Sea; the story of the long wandering 
in the Wilderness and the pastoral life of our fathers 
become far more vivid through tableaux and song; 


3 


4 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

Esther never really lives until the children actually 
see her pleading before the king. Succoth, Passover, 
Purim—the words glow with a new meaning when the 
child finds the dry bones of history vivified through 
the charm of the dramatist’s art. 

Thus the child learns certain historical facts; but 
this is not'enough. The inspiration of the story of 
Jewish history may be increased tenfold if the child’s 
emotional nature is stirred and is deepened. As the 
boy in Hawthorne’s parable of “The Great Stone 
Face” grew like the vision he loved from his youth, 
so our children may become more heroic when, as 
Miriam, and Judah and Esther, they embody the heroic 
ideals of our people. 

But this twofold purpose of the entertainment, 
amusement and education, is not achieved without 
long and intensive labor. No Hebrew teacher would 
dream of leading his pupils to the prophetic books 
until they had mastered more than the rudiments of 
the language; no director of a children’s choral so¬ 
ciety would venture to present a program without 
careful rehearsing. Neither the Hebrew teacher nor 
the choirmaster should dare to begin a year’s work 
without a definite goal in view, whether it be a fluent 
translation from Isaiah or the execution of a difficult 
cantata. But the holiday entertainment is usually left 
to chance, often handed over to an overworked or 
inexperienced Sabbath School teacher a few weeks 
before the holiday occurs. A play is hastily chosen, 
indifferently coached and produced; one child prodigy 
is asked to dance; another allowed to sing the latest 
hit in vaudeville; a third recites the selection pre- 


PREPARATION OF HOLIDAY ENTERTAINMENTS 


5 


scribed for her by her elocution teacher, which usu¬ 
ally turns out to be a bit of dialect or something as 
glaringly inappropriate as "The Night Before Christ¬ 
mas”. These "extra numbers” are seldom rehearsed. 
At the performance, the play is literally pitched upon 
the boards and the extra performers present their re¬ 
ligious minstrel show. 

It is against such an outrage which occurs in far 
too many of our Religious Schools every year that the 
author, who for the last ten years has struggled for 
the cause of better entertainments for Jewish children, 
wishes to protest. 

Perhaps the most necessary adjustment to be made 
in the present-day holiday entertainment, even when 
thoughtfully planned and executed, is along the lines 
of Grading. Every child in the Religious School from 
the five-year-old, impatient to see his first Purim play, 
to the blase confirmand who wishes "they’d give 
something new for a change”, should be considered 
in the celebration of the holiday. So important is the 
feature of the ideal entertainment that we have de¬ 
voted pages 14-16 to explaining the meaning of the 
term and to suggestions for adapting the program to 
the needs of the various grades. 

Alternation of holiday entertainments must also be 
considered. This is especially true in the smaller 
schools where the brunt of the work necessary for 
preparing a successful entertainment falls upon a few 
gifted children. Children who have worked hard to 
produce a Chanukah play should not be asked to re¬ 
hearse for a Purim Pageant. Confirmands who the 
year before may have ample time to participate in a 


6 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

Purim celebration should have no part in a Purim pro¬ 
gram when they are preparing for Confirmation. Even 
in a larger school, where different (groups may be 
called upon to do their share for the different holi¬ 
days, it is often unwise to plan too many elaborate 
entertainments for one year. At best, they involve a 
certain amount of nerve strain for both teachers and 
pupils ; even more serious is the tendency of the pupils 
to think of their Sabbath School as a sort of theater. 
If, as has often been charged, the Jewish child is 
sometimes guilty of ostentation and love of the lime¬ 
light, his Sabbath School at least should be clean of 
such tendencies. 

For this reason, it seems best to give one large en¬ 
tertainment every year. One year it may be a mid¬ 
winter festival in honor of Chanukah; the next year a 
full-length program for Purim; the third year an out¬ 
door pageant for Shabuoth. This does not mean that 
the other holidays are neglected. Shorter and simpler 
programs should be given and, like the more elaborate 
entertainments, should be planned with great care. 
The smallest entertainment, if it is worth doing, is 
worth doing well. 

Since the task of preparing the entertainment often 
falls upon a teacher who, for all her knowledge of 
pedagogy and Jewish history, is hopelessly at sea 
when coaching a play for the first time, a few Sugges¬ 
tions for acting, choosing a cast and similar difficulties 
may not be unwelcome. As Purim is the most univer¬ 
sally celebrated holiday in the Sabbath School, most 
of the examples will be drawn from that festival. 

As the play is usually the nucleus of any enter- 


PREPARATION OF HOLIDAY ENTERTAINMENTS 


7 


tainment, the following very brief suggestions will 
deal chiefly with the dramatic aspects of the program, 
it being taken for granted that the music and the oc¬ 
casional dancing are in adequate hands. These two 
very important features should, whenever possible, be 
taken out of the province of the busy dramatic di¬ 
rector ; in nearly every Sabbath School one finds 
grade-school teachers capable of teaching these 
branches, and they should be held responsible for 
their share in the entertainment, after sufficient con¬ 
sultations and planning with the producer of the play. 

The selection of the play is a matter of very great 
importance. Unfortunately the field has been but 
little developed and the material suitable for presen¬ 
tation by Jewish children is painfully small. How¬ 
ever, the dramatic director should make certain that 
the play he has chosen is the very best play avail¬ 
able for his purpose, that it best expresses the phase 
he desires to bring out in the holiday celebration 
(say the ceremonial aspects of Purim or the historical 
side of Passover), and is neither too long nor too 
difficult for his pupils to present. In this case, it is 
often a simple matter to omit several scenes or 
even a whole act, provided the director has sufficient 
skill to write in several speeches to cover the omitted 
action. In any case, long speeches can be simplified 
or scenes “built up” by the introduction of tableau 
effects or appropriate musical selections. 

The play once chosen, the director selects his cast. 
If the Sabbath School boasts a Dramatic Club, the 
task is an easy one. If the players are to be chosen 
from the school at large, it has been found most prac- 


8 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

tical to ask the children from the grades that are to 
furnish the entertainment to meet after one of the 
regular sessions of Sabbath School to discuss the com¬ 
ing play. If the school is large, the director is likely 
to face a veritable mob of stage aspirants. Many are 
eliminated by the simple process of stating the days 
for rehearsal, which will often conflict with music les¬ 
sons and other home duties. With younger children, 
it is often best to secure the parents’ consent, especial¬ 
ly if they live at any great distance from the place of 
rehearsals. The director should also exercise discretion 
in assigning parts to pupils who are notoriously un¬ 
ruly, tardy or unreliable; one reads pretty stories of 
bad boys being reformed through amateur dramatics; 
but the director cannot always afford to risk demoral¬ 
izing her company for the sake of one or two incor- 
rigibles. 

After this weeding out process, the cast and the 
director meet to read the play together. This means 
a copy for every speaking character in the play. It 
is disgraceful economy to seek to save fifteen cents or 
even a quarter by placing a mutilated copy of the play 
in the children’s hands, to say nothing of the stupid 
device of asking a busy director to copy the separate 
parts. The child should read the play as a whole, not 
only to get his complete cues, but to acquire the 
proper spirit and atmosphere. In many cases, the 
children will buy their own copies; if not, the congre¬ 
gation should consider it a legitimate expense. 

The play is now read as a whole, the director call¬ 
ing upon first one child to read a certain part, now 
another. Of course, he has distinct types in mind, and 


PREPARATION OF HOLIDAY ENTERTAINMENTS 


9 


has no one read Esther hut girls of the right age and 
stage presence. In this way he tests their voices— 
notes their feeling for the lines. He learns that a boy 
who has been called upon to read Mordecai has an im¬ 
perfection in speech and decides he cannot include 
him in the cast; the next Mordecai has a fine, clear 
voice, and has such dignity that he mentally puts him 
aside for Ahasuerus. When Esther is chosen, he picks 
her closest rival for Yashti, the third choice receiving 
the smaller part of the handmaid. And he must be 
very careful to avoid the “star system”. The boy 
who made a splendid Judah on Chanukah should re¬ 
ceive a minor part on Purim; it is better to give the 
Hannah of the last performance the part of a court 
lady, even if she does make an ideal Esther, rather 
than run the risk of turning an unaffected child into 
a spoiled and petted leading lady. The new Esther 
may be a little harder to coach, but every director will 
agree that nothing is more undesirable than exploit¬ 
ing a talented child. 

• The cast chosen with due attention to voice and 
type—don’t ask a timid little lad to defy Haman, or 
a boy with an angelic smile to play that villain!—set 
the dates for rehearsals, and stick to them. The mod¬ 
ern child is so overburdened with music lessons, danc¬ 
ing school and home work that rehearsals often rob him 
of his only free afternoons. If he is strong enough to 
stand the extra strain, and interested enough to make 
the sacrifice, well and good. Otherwise he should be 
dropped for the second unexcused absence from re¬ 
hearsal. One example is usually enough to impress 
the rest of the cast. 


10 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

Discipline is a negligible quality at rehearsals if 
the children are interested and the director knows his 
business. The director who comes to rehearsals 
knowing as little about the play as the children; who 
keeps his eyes glued to his copy instead of handing it 
over to an older pupil as “prompter”, cannot expect 
the same response as the coach who keeps things mov¬ 
ing throughout the rehearsal, filling even the dullest 
actor with “pep” and persuading the most conceited 
child that he alone is master of the situation. Rehearsals 
should not be too long; if possible, they should be 
given on the stage where the final performance takes 
place. If this is out of the question, try to arrange 
your temporary stage with exits exactly like those for 
the real performance; it is often wise to mark imag¬ 
inary exits with chairs. Begin to use properties as 
early as possible and have at least one dress rehearsal. 
At the end of this rehearsal all the properties should 
be placed in a convenient spot in the order in which 
they are to be used during the performance. The ap¬ 
pointment of a reliable, older pupil to hand these out 
on the day of the play’s presentation will avoid much 
confusion and unnecessary delay. In this connection, 
it is well to remind the producer that nothing is so 
fatal to a successful performance as tiresome “waits” 
between the acts. These may in many cases be elim¬ 
inated by a judicious arrangement of the program, 
since recitations and essays and group songs may be 
given before the curtains while the stage is being pre¬ 
pared for the next act. 

One word should suffice for the acting. Don’t 
allow acting! Pill your players with the spirit of the 


PREPARATION OF HOLIDAY ENTERTAINMENTS 11 


play and they will be themselves. Avoid stage atti¬ 
tudes and exaggerated gestures, except in pantomime 
or pageant. 

It is also worth remembering that tableaux and 
recitations as well as the play should be carefully 
coached. An excellent pamphlet on the presentation 
of Biblical tableaux has been prepared by Samuel S. 
Grossman and may be purchased from Young Judea. 
The child with a recitation should have at least one 
rehearsal on the stage to be used for the final per¬ 
formance, a listener in the rear of the auditorium 
halting the recitation whenever the speaker’s voice 
fails to carry. His gestures, already planned by the 
coach, should be carefully rehearsed. Above all, the 
director should be sure that the performer has a clear 
idea of what his recitation means. To illustrate, with 
the recitation, “Esther before the King”, given below: 

See that the reciter knows the story—why Esther 
went to the king—her danger. What is the meaning 
of the name Esther? Why is she called the Myrtle in 
the poem? Just what does the Bible tell us she said 
when she set out to plead with the king? Why have 
the centuries since the first Purim often proved 
“weary” to the Jew? Let your voice at the end ring 
out with the proud assurance that Esther has indeed 
saved her people. 

Forbid make-up in natural light, and when artifi¬ 
cial lighting is used be as sparing as possible with 
rouge and the lip-stick. These articles, perfectly proper 
on the professional stage, are glaringly out of place 
in the Sabbath School. In many cases hair may be 
powdered, as wigs are usually heavy and cumbersome. 


12 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

Beards should be used as little as possible, as they 
generally tend to make the young player nervous. 
When used, the most desirable are the crepe paper 
variety. 

Except for the elaborate productions, it is best not 
to rent the costumes. The children should be given 
typewritten directions for their costumes describing 
the cut, color and material to be employed. But in 
these days of mothers often too busy to do extra work 
for the Sabbath School or too inexpert with the 
needle to attempt even simple sewing, the best plan is 
to have the costumes made for the children, charging 
those who can afford to pay for the material. A seam¬ 
stress can be hired by the day, and with a little super¬ 
vision can turn out an amazingly large portion of the 
simple robes in a few hours. * Better yet, the director 
or the wardrobe mistress whom he appoints, can meet 
with the members of the local Sisterhood or the 
mothers themselves, cut out and design the costumes, 
which the women can make in a day, not only saving 
money but experiencing what for some of them may 
be a novel treat—working for the Sabbath School. 
In some cases, these costumes can be made by the 
older girls of the post-confirmation classes or turned 
over to the senior members of the dramatic club. 

Should the costume plates prepared especially 
for this volume not suffice, any good illustrated 
Bible will be found rich in suggestions for costumes 
of any of the plays laid in Biblical times. The 
Tissot pictures, issued by Perry Co., Boston, Mass., 
are excellent. Modern pictures of the inhabitants 
of Palestine are also helpful, and Maxfield Parrish’s 


PREPARATION OF HOLIDAY ENTERTAINMENTS 13 


studies from the Arabian Nights are especially fine 
for color suggestions. The Jewish Encyclopedia and 
Oppenheim’s pictures are useful in costuming plays 
of a later date. Cheese cloth and the various lin¬ 
ing goods are excellent, and little trimming is 
needed except what the children themselves supply— 
a string of beads, a colored cord or waist cloth, a 
bright scarf or a diadem made of pasteboard and gold 
paper. Only don’t expect the children to think of 
these additions for themselves. The costumer should 
discuss these details with each member of the cast, 
planning the arrangement of the hair for the girls and 
insisting that every member of the company wear 
white stockings and sandals. These may be replaced 
by slippers or gymnasium “sneakers” or made from 
inner soles, laced with ribbon; but the wardrobe mis- • 
tress should not allow a stage picture to be marred 
by heavy, neatly-blackened shoes extending beneath a 
priest’s classic white robes, or a messenger appearing 
in pink slippers with French heels. 

Nearly all properties can be made or borrowed. It 
is far better to borrow a hanging lamp from a friend’s 
cozy corner than use some of the atrocities which the 
professional costumer keeps on hand. Dishes for a 
banquet may be kitchenware covered with gold paper; 
the king’s goblet is a glass of graceful design simi¬ 
larly disguised. Boys in manual training classes can 
turn out spears and swords which the girls in the play 
can cover with silver paper when they make the 
crowns and cover the king’s scepter. Bits of bright 
paper placed on them in conventional designs make 
good oriental jewelry. It is very easy to interest the 


14 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

lower classes in this handwork, and many of the 
children are willing to meet for several afternoons in 
order to do their share of work for the play. 

Be careful in the choice of furniture, especially 
for Biblical plays. Do not use stiff class-room chairs 
for a palace scene; an old kitchen chair properly 
draped gives the right regal effect. A couch or arm¬ 
chair likewise disguised serves as a throne. A brass 
urn filled with red roses, a crimson curtain thrown 
across a carved chair, and a lion skin which the au¬ 
thor borrowed from one of the pupils, Actually sug¬ 
gested a royal apartment; on the other hand, a Zionist 
banner allowed to remain draped across the wall be¬ 
cause 4 ‘there wasn’t time to take it down”, was an 
irritating flaw in a playlet dealing with the life of 
Moses Mendelssohn. “Take care of your scenery and 
details”, says Constance Mackay, “and much of your 
play will take care of itself. ’ ’ 

Every public library contains reference books 
which will be of value to the dramatic coach. The 
following have proved most useful to the author, both 
for inspiration and directly practical suggestions: 

REFERENCE BOOKS 

The Children's Educational Theatre.— Alice Minnie 
Herts. Harper & Bros. 

Shorter Bible Plays.— Rita Benson. Abingdon Press. 

Costumes and Scenery for Amateurs.— Constance D’arcy 
Mackay. Henry Holt & Co. 

Pageants and Pageantry.— Bates & Orr. Ginn & Co. 
Festivals and Plays.— Percival Chubb. Harper & Bros. 

The Dramatization of Bible Stories.— Elizabeth E. Miller. 
The School of Education, University of Chicago. 


PREPARATION OF HOLIDAY ENTERTAINMENTS 15 


The last work will be found especially helpful for 
suggestions in costuming and hints for incidental mu¬ 
sic, while the Mackay book is unusually fine for the 
coach who has to labor against such difficulties as a 
small stage and no scenery. For excellent suggestions 
for American and Jewish Festivals, the Holiday Enve¬ 
lopes issued by Young Judea, as well as the pamphlets 
issued by the Jewish Welfare Board (N. Y. C.) and 
the Jewish Festival Books of the Bureau of Jewish 
Education (N. Y. C.) are most useful. 

The Special Character of the Entertainment should 
depend largely upon the age of the pupil. It is enough, 
to take one example, if the very young child learns 
to enjoy Purim; if he learns a few facts concerning 
the identity of Esther and Mordecai, so much the bet¬ 
ter. As the child advances in the Sabbath School, he 
not only acquires more facts with the recurrence of 
the holiday each year, but should be taught to draw 
more inspiration from the historical material. To the 
child of five, Esther is little more than the Cinderella 
heroine of a Jewish fairy tale; the child of ten can be 
made to feel something of God’s care for His people; 
the adolescent is fired to emulate the heroism of Mor¬ 
decai and Esther in a modern Jewish crisis. 

For this reason, grading is as necessary in the en¬ 
tertainment department as in any other phase of the 
religious curriculum. The pupil in the primary de¬ 
partment should not be expected to listen while his 
teacher draws from the Purim story an inspirational 
lesson which only an adolescent could grasp; the boy 
in the Confirmation Class should not be bored by the 
bare recital of the facts which he has heard without 


16 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

alteration for the last seven weary Purims. If he has 
been well taught it should be taken for granted that 
by the time he reaches the third or fourth grade he 
knows the story as well as he should know the story 
of the First Thanksgiving. Then let the teacher spend 
a little time in telling him how Purim was spent in 
later days, striving to give him a feeling for the cere¬ 
monialism usually so lacking in his own home. If a 
few of these customs can be revived, say, the good old 
habit of Shalach Monoth , the holiday will cease to be 
an outworn shell, but will become a living reality. 
While to the higher grades, the life lessons of Esther 
and Mordecai may be made to serve as stepping-stones 
to the study of the Jewish heroes and heroines of our 
own day. 

It has been found best to divide the children into 
three divisions: The Primary Division (5-7), the Inter¬ 
mediate (8-10), the Senior (11-14)—at least in the 
large graded school. In the small school it may be 
found necessary to use the two terms, Junior Division 
(5-9) and Senior (10-14). Dramatic Clubs will nat¬ 
urally fall under the head of Intermediate or Senior, 
depending upon the ages of the members. 

It is with these divisions in mind that the author 
has planned both the supplementary work in the class¬ 
room and the model programs. The latter, especially, 
should be arranged to include representatives from 
every division, that the younger children may also 
take an active part and learn through participation. 


SUCCOTH 

/ • 



SUCCOTH IN THE ClASS-RoOM 


S INCE the late opening of many of our Religious 
Schools often means that Succoth will be the first 
of the holidays celebrated, the teacher should spend a 
little time in introducing the idea of the Jewish fes¬ 
tivals before beginning the story in the class-room. 
With the primary children she should emphasize the 
fact that Jewish children have a number of holidays 
of their own, as well as those enjoyed by all American 
children; Succoth as well as Thanksgiving, Rosh 
Hashanah as well as the civil New Year. She should 
also explain why the little ones just beginning to at¬ 
tend public school should come to Sabbath School in¬ 
stead on Succoth, and that this custom is to be con¬ 
tinued through the year. Above all, she must give the 
little ones a thrill of anticipation. Succoth is a very 
happy festival, the teacher tells them, and through the 
year Jewish children enjoy many more which they 
will learn about in turn. 

Now comes the center of all class-room work—the 
story. For the primary child the Succoth story should 
be little more than a study in gratitude, and should 
run something like this: We are grateful to our pa¬ 
rents for food and clothing, but these things come 
from God. We thank our parents when they give us 
presents, and try to show how thankful we are by 
obeying them and pleasing them in every w^ay. When 
we talk to God it is called praying, and some prayers 
are said just to thank Him for His goodness. 

19 


20 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

This is usually a good time to introduce one of the 
simpler forms of “Grace at Meals”. The two trans¬ 
lations given below are taken from Jessie E. Sampter’s 
little volume, “Around the Year in Rhymes” (Bloch), 
a collection of charming verses which should be in the 
hands of every teacher of young children. In some 
cases the Hebrew form may be learned at once; for 
some children, especially the very little ones, it is 
often wisest to give the English equivalent later, 
teaching the Hebrew as one of the first lessons in the 
language. 

BLESSING ON BREAKING BREAD 

Blessed art Thou, 0 Lord our God, 

King of the World, who from the clod 
Makest our daily bread to grow. 

Not only we His blessings know, 

But all the ripening summer days 
The wheat and barley sing His praise. 

The other selection, more difficult, and therefore 
more suitable for older children w r ho have had more 
Hebrew instruction, follows: 

Blessed art Thou, 0 God our King, 

The Lord of every time and place, 

Who feedest every living thing 

With goodness, kindness, love and grace. 

He gives their bread to all that live 
Because His kindness lasts forever; 

Our food He gave us, and will give 

With goodness, and shall fail us never; 

He nourishes both great and small, 

Sustains and cares for every soul, 

For His great name’s sake keeps us all. 

Blessed be God, who feeds the whole. 


SUCCOTH IN THE CLASS-ROOM 


21 


Remind the children we thank God not only in onr 
prayers, but in trying to please Him. So at Succoth 
we follow the old Jewish custom of sharing our bless¬ 
ings. We are not farmers, and cannot give grain and 
fruit from our own fields, but we can buy and bring 
fruit to the Temple to make the altar beautiful, and 
afterwards send it to poor children whose parents can¬ 
not give them all the good things we enjoy. 

Having developed the two themes of the holiday, 
gratitude and charity, which are comprehensible to 
the young child, sketch a little of the historical back¬ 
ground and origin of the Festival, being careful that 
the child is given no more than he can easily digest. 
The story in its simplest form should run something 
like this: 

Before the Jewish people entered Palestine, they 
roamed about the desert for many years, just as the 
Indians used to do in this country. You have all seen 
pictures of an Indian house or tent (it may be well to 
sketch one rapidly on the board), and while the Jew¬ 
ish people lived in the desert they also dwelt in rough 
little houses that were something like these tents. We 
will build some of our own in a few minutes, that we 
can see just how the Jewish people lived. 

After many hard years God led them into Pales¬ 
tine. Here the Jewish people built themselves com¬ 
fortable houses and a beautiful Temple. It was a 
good land for farming, and many of the people 
planted grain and fruit and had a bountiful harvest 
every year. They tried to remember how often they 
had been hungry in the desert, and they always gave 
liberally from their harvests to the poor people and 


22 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

little children who had no fathers to care for them. 
And they formed great processions, and from every 
part of Palestine went up to Jerusalem, their greatest 
city. Some people carried fruit to lay on the altar of 
the Temple, and some carried grain. And when they 
came to their beautiful white Temple they waved wil¬ 
low branches and palms. (If possible, show the chil¬ 
dren the traditional offering of Succoth, the ethrog 
and lulab.) They sang and made merry and thanked 
God for giving them a bountiful harvest. And be¬ 
cause they never forgot how they had lived in rough 
little booths through all those desert years they built 
little houses of boughs and lived in them for the whole 
holiday of Succoth, which lasted eight days. 

The teacher should seek also to review the fall 
holydays with the pupils of the Intermediate Division. 
Contrast the solemnity of Yom Kippur with the bright¬ 
ness of Succoth; point out how often the spirit of the 
joy which characterizes so many of the Jewish holi¬ 
days was the only real joy the Jew knew in days of 
exile and persecution. No wonder he never wearied 
of his festivals, but greeted them eagerly, sometimes 
beginning as soon as Yom Kippur was over to build 
his Succah, that he would surely be ready for the fes¬ 
tival; and after the days of rejoicing in the harvest 
he added still another day of joy, the day for the Re¬ 
joicing in the Law, Simchath Torah. 

In telling the Succoth story to the Intermediates, 
compare it to its American descendant, Thanksgiving. 
Spend a moment on the influence of the Old Testa¬ 
ment upon Puritan thought and life, showing how this 
Puritan ideal for righteousness and religious freedom, 


SUCCOTH IN THE CLASS-ROOM 


23 


which is so essentially Jewish, has affected American 
ideals. Now draw a rapid picture of the desert life 
in huts, which should be already familiar to the chil¬ 
dren. Then it will be easy to show what features of 
the ancient festival survive, the eating in the Succah, 
the giving of thank-offerings. In this connection do 
not fail to show Oppenheim’s well-known picture; the 
children may also enjoy hearing Zangwill’s “Taber¬ 
nacle Thoughts”. They will certainly be interested in 
hearing of Succahs built at great difficulty and peril; 
there is something thrilling in the thought of the 
Spanish Jews of the days of the Inquisition and the 
Jews of the Poland of our own day risking fresh per¬ 
secution by boldly building their Succahs at peril 
of their lives. 

In this connection, the child is certain to ask why 
more Jews do not build their own Succahs today. It 
can be pointed out that because of cramped living con¬ 
ditions in our larger cities, it is often impossible to 
find room to build a Succah, and for this reason many 
Jews now celebrate Succoth in their common religious 
home, the Temple, building a Succah for all who wish 
to share it, and meeting to thank God for His harvest. 

For the Senior Division the teacher should try to 
find a little time to dwell on the ceremonial aspects of 
the two holidays preceding Succoth, such as the sym¬ 
bolism of the Shofar, the Dance in the Vineyards on 
Yom Kippur. She should place special emphasis in 
her lesson talk on the three great pilgrim festivals of 
the ancient Jew—Succoth, Passover and Shabuoth— 
explaining how, in a day when there were no railroads 
and telegraph connections, such gatherings would 


24 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

have a unifying effect upon the scattered tribes. And, 
if time permits, she can also mention and compare the 
pilgrimage of the Moslem to Mecca, the journeys of 
the Crusaders of the Middle Ages and the orthodox 
Russian peasants to Jerusalem. 

It might be well to spend another moment on the 
natural aspects of the holiday, mentioning the great 
harvest festivals of all people, from the primitive In¬ 
dians (here the teacher may read extracts from “Hia¬ 
watha”) to their descendants, the American farmer, 
so beautifully described in Whittier’s folk poem of 
“The Huskers”. Comment on the irony of the Jewish 
people, who have been landless for so many years, still 
celebrating their own harvest festival. But add that 
the cruel laws of the Middle Ages, which forbade the 
Jew to engage in agriculture, have gradually disap¬ 
peared in all civilized countries, telling how today we 
have flourishing 'agricultural colonies in Palestine, 
while in this country Jewish boys are taught scientific 
farming at the National Farm School, at Doylestown, 
Pa., and are encouraged to work on the soil. 

Above all, do not fail to mention the twofold as¬ 
pect of the holiday, the Jew’s gratitude for the fruits 
of the earth, his gratitude for his Torah on Simchath 
Torah. Quote the poem “Simchath Torah”, on page 
49, and tell the old legend which accounts for the cus¬ 
tom of beginning to re-read the Torah on the very day 
the last chapter is finished. Then, in conclusion, 
briefly draw your ethical inference from the survival 
of the Jewish holidays, describing them as one of the 
great unifying bonds of scattered Israel and pleading 
for their observance. 


SUCCOTH IN THE CLASS-ROOM 


25 


So much for the story proper. There will be little 
chance for class-room dramatization for the Primaries 
unless the children already know the story of the 
Wandering in the Wilderness. If they have the back¬ 
ground, the children might enjoy presenting im¬ 
promptu dramatizations of such stories as the author’s 
“In the Tents of Israel” (from “Playmates in 
Egypt”). At least they will take pleasure in working 
out any simple pantomimic games the teacher cares 
to devise, such as “The Return of the Spies”, “Gath¬ 
ering the Harvest” or “The First Succoth”. It is 
always a good thing to dramatize any of the familiar 
harvest songs; these may be given later as part of the 
forntal Succoth program. 

The objects referred to in the story may be colored 
and cut out, sewn on cards with colored wool or con¬ 
structed during the period devoted to handwork by 
the primary children. Should the primary teacher be 
fortunate enough to have a sand-table as part of her 
equipment, the children would dearly love to place 
their paper booths in their sandy wilderness, with 
trees, constructed of twigs and green paper, to repre¬ 
sent the fertile Promised Land in the distance, and 
tiny dolls as the wandering Children of Israel. Or a 
modern farm scene (with the help of a toy village) 
may be constructed, showing a harvest field of today. 

The office of -the Department of Synagogue and 
School Extension has already issued excellent leaflets 
designed for the use of children in the kindergarten 
grades of the Religious School. These, of course, will 
be too simple to be given out as handwork for the 
children of the higher grades. The children of the 


26 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

Intermediate and Senior Divisions should begin their 
holiday scrap-books on Succoth, the books of the 
former being little more than a collection of pictures 
appropriate to each holiday, accompanied by verses 
or prose selections suggested by the teacher. The 
Seniors should plan a more ambitious pamphlet, and 
should be encouraged to search out the best possible 
material for each holiday, a poem for Succoth, a story 
for Chanukah, an article on Purim customs, etc., 
copied from the few available volumes devoted to 

V 

holiday material or current Jewish periodicals. This 
book should contain the pupil’s own class-room com¬ 
positions or stories for the holiday, and he should be 
guided in the selection of appropriate decorations for 
each section, a border of palms for Succoth, etc., 
which, if he is skillful with his pencil, he may be able 
to draw himself. Usually these stories and poems will 
prove sincere, but crude in their workmanship, al¬ 
though sometimes a bit of verse will have the authen¬ 
tic ring, such as the Chanukah stanzas written by a 
nine-year-old child, and printed in the appendix of 
this volume. At the end of the year a prize may be 
given for the best scrap-book in each division; in any 
case the scrap-book will be found to be one of the 
best methods, not only for awakening and holding a 
child’s interest, but also for helping him retain the 
various supplementary lessons of the year’s work. 

If time permits, the teacher should tell a few le¬ 
gends or stories appropriate to the holiday, adapting 
them in every case to the ages of her listeners. Prac¬ 
tically all the stories given below will do admirably 
for supplementary reading by the children themselves. 


SUCCOTH IN THE CLASS-ROOM 


27 


The references below should be used only for older 
children, and will be most useful in giving the teacher 
the necessary background for the story, whether or 
not she uses the actual material in her treatment of 
the holiday in question. 


28 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


Stories about Succoth 

References for Intermediate Pupils 
Modern 

“May's Garden” from “A Modern Esther ”—Emily Gold¬ 
smith Gerson (Greenstone). 

“Sam's and Miriam's Succah''—I bid. 

“Feast of Tabernacles” from “Festival Stories” —Han¬ 
nah Trager (Dutton). 

“Simchath Torah” or “Rejoicing in the Law”. —Ibid. 

“The Coward” from “Jewish Holy day Stories” —Elma 
Ehrlich Levinger (Bloch). 

Biblical 

“In the Tents of Israel” from “Playmates in Egypt” 
—Elma Ehrlich Levinger (Jew. Pub. Soc.). 

References for Senior Pupils 
Modern 

“Before Dawn” from “Under the Sabbath Lamp ”— 
Abram Isaacs (Jew. Pub. Soc.). 

“The Tabernacle” from “Jewish Children” —Sholom 
Aleichem (trans. Knopf). 

“His Own Succah” from “Jewish Holy day Stories ”— 
Elma Ehrlich Levinger (Bloch). 

“Late” from “ Yiddish Tales” (translated by Helena 
Frank)—Abraham Raisin (Jew. Pub. Soc.). 


STORIES ABOUT SUCCOTH 


29 


“The Tent op Refuge” from “In Many Lands ”—Elma 
Ehrlich Levinger (Bloch). 

“The Flag of My People” from “In Many Lands ”— 
Elma Ehrlich Levinger (Bloch). 

References for Highest Grades and Teachers 

Bible: Ex. 23:14-17; Num. 29:12-40; Deut. 16:13-16; 
Chron. II, 5:2-14; Psalms: 19, 65, 95, 96, 147. 

Jewish Encyclopedia: Succoth and related articles. 

“Festival Studies” —Israel Abrahams (Greenstone): 

“The Succah of the Bible”. 

“Some Succahs I Have Known”. 

The Story of the Jewish People —Jack M. Myers 
(Bloch). 

“The Drawing of the Water” (Chapter VIII). 

History of the Jews —Graetz (Jew. Pub. Soc.). 

Vol. I, 379-380; Vol. II, 51; Vol. IV, 429-430. 
Succoth Manual prepared by Rabbi David Philipson 
(Bloch). 

Union Hymnal. 

“In Many Lands” —Elma Ehrlich Levinger (Bloch). 
“Succoth—the Jewish Thanksgiving.” 


30 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


The Succoth Program 

For several reasons, the Succoth program should 
be the first holiday festival of the year presented in 
Religious Schools. Rosh Hashanah and Yom Kippur 
fall too soon after the opening of the Religious School 
to permit ample preparation. Besides, these two holi¬ 
days are of the type which is well-nigh impossible to 
present to the child through the medium of an enter¬ 
tainment. For this reason it has been found best to 
limit the child's participation in these two holy days 
to such simplified services as those prepared by Mrs. 
Caesar Misch and Rabbi Louis Grossmann. 

If Succoth falls early in the year, before the work 
of the school is well organized, it may be necessary to 
limit the children’s celebration to a short program of 

appropriate recitations and songs, an essay on the hoi- 

* 

iday, or, better yet, one of the excellent Succoth ser¬ 
vices already listed. But by all means give the chil¬ 
dren their share in the program. There is so much 
that is picturesque and ennobling in the Succoth fes¬ 
tival that the child must make the holiday his own as 
truly as he has appropriated Chanukah and Purim. 
And to do this he must learn by doing, whether he 
presents the ancient pilgrimage of his people in elab¬ 
orate pageant form or by a simple harvest service re¬ 
peats Israel’s eternal lesson of reverence and grati¬ 
tude. 


THE SUCCOTH PROGRAM 


31 


No matter of what the program consists, it must 
not be too long. The grown-ups in the audience as 
well as the children themselves are quickly bored, and 
when boredom enters the door education as well as 
edification fly out of the window. The chairman who 
announces the numbers should keep his remarks brief 
and pertinent; if the rabbi tells the meaning of the 
festival, there is no need to have the facts repeated in 
an essay by a member of the Confirmation Class. If 
the director plans for two harvest songs by the entire 
school, there is no excuse for adding a solo by a mem¬ 
ber of the choir, merely because she has a charming 
voice and expects to he called upon; save her until 
Chanukah, and for your extra musical number intro¬ 
duce a simple harvest dance which several of the 
primary pupils may have already learned in public 
school. It will be more in character, beside giving the 
program the quality most frequently lacking in every 
Sabbath School entertainment—variety. 

In the two model programs that follow, it will be 
seen that an attempt has been made to grade the ma¬ 
terial. The first program is almost entirely in the 
hands of the pupils of the Primary and Intermediate 
Divisions, for this program seeks to bring out the as¬ 
pects of the festival most appealing to the children of 
these grades—Succoth as an ancient festival of thanks¬ 
giving, and its modern ceremonial celebration. 

The second program is given over largely to the 
pupils of the Senior Division; in this the historical 
and ethical phases of the holiday are emphasized, and, 
since the operetta requires greater proficiency in act¬ 
ing and singing, it should be in the hands of the older 


32 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

children, although the younger ones may fill minor 
roles. 

For the third program, nothing could be more ap¬ 
propriate than the Harvest xService prepared by Dr. 
David Philipson (Bloch). It should be participated 
in by every member of the school, the more difficult 
passages being read by members of the Confirmation 
Class or the school’s post-confirmands. 

Not only the original material mentioned in the 
model programs is included here, but recitations by 
other writers are added in case the director wishes to 
substitute them for those already suggested. But in 
no case should they be added, as this cannot be done 
without dragging the program to an inartistic and 
tiresome length. The plays listed may be substituted 
for the play in Program I or the little opera in Pro¬ 
gram II. Where substitutes are offered, they must be 
selected with the greatest care to harmonize with the 
program’s central theme. 

If the program is printed or announced in the 
Temple Bulletin, one of the following quotations may 
be used, with designs suggestive of the harvest season: 

They overflow with prayer and praise 
To Him, who knows the future days. 

Have mercy Thou, and hear the prayer 
Of those who palms and myrtles bear. 

—Eleazar Kalir. 

For garnered fields and meadows cropped 

And orchards plucked of peach and pear— 

Lord, what Thy hand has given us, 

For this we bring our grateful prayer. 

—Joseph Leiser. 


THE SUCCOTH PROGRAM 


33 


“Take unto you the boughs of goodly trees, 

Branches of palm, and willows of the brook, 
And build you booths to dwell therein with these.” 
So it was written in the Sacred Book. 


Alice Lucas. 


34 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


Plays for Succoth 

Intermediate Division. Modern 

“How Succoth Came to Chayim”. Elma Ehrlich Levinger. 
Published with this volume, for which may be sub¬ 

stituted : 

“Who Built the Succah”, six boys, four girls; easy to pre¬ 
sent; a bright farce of today. Samuel S. Grossman. 
Published by Young Judea, N. Y. C. 

Senior Division. Modern 

“The Ancient Fortress”, four boys, 1 girl; highly dramatic 
scene laid in a Russian Succah during the past war. 
Rufus Learsi. Published by Young Judea, N. Y. C. 

Intermediate and Senior Divisions. Historical 

“The Golden Staff”. Words by Elma Ehrlich Levinger; mu¬ 
sic by Samuel Goldfarb. Published with this volume. 





PROGRAM FOR SUCCOTH 


35 


Model Program for Succoth 

I 

1. Entrance March of Children with Offerings. 

Song, “En Kelohenu”, Union Hymnal, 248, 

Entire School or Class 

2. Service VII from Union Hymnal, 

Bead by Seniors or Post Confirmands 

3. The Story of the Succah. Intermediate Division 

(The others bring up their offerings ) 


4. Recitation, Psalm 65 (10-16) . Intermediate Pupil 

5. Harvest Dance. Primary Pupils 


6. Essay, “Why We Celebrate Succoth”, 

Primary or Intermediate Pupil 

7. Song, “Let Us Sing Unto the Lord”, Union 

Hymnal, 11. Entire School 

8. Playlet, “How Succoth Came to Chayim” .Intermediates 

9. Closing Song, “America the Beautiful”, Union 

Hymnal, 222. Entire School 


VARIATIONS 

If the play is given, No. 2 may be omitted or shortened. 

No. 3 may be omitted if a shorter program is desired; or there may be 
substituted a short talk on the symbolism of the Succah by the Rabbi or 
one of the teachers, followed by “Old Succah” (page 38). 

For No. 4 may be substituted the recitation, “We Thank Thee” (page 41), 
for a primary pupil. 

For No. 6 may be substituted either of the recitations, “A Succoth 
Hymn” (page 42), or “The Corn Song” (page 43). 






36 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


THE BUILDING OF THE SUCCAH 

[If the Succah is already built the four children take 
their places at the four corners, stepping a little to the front 
when reciting their portion. Or they may enter, carrying the 
four poles united by a roof of green decorated with fruit. 
If desired, different recitations may be substituted for those 
indicated below; or, after each recitation an appropriate 
Succoth song may be sung by the children in the audience .] 

First Child: Why We Build the Succah: And the Lord 
spoke unto Moses saying: “Speak unto the children 
of Israel, saying, The fifteenth day of this seventh 
month shall be the feast of tabernacles for seven days 
unto the Lord....And ye shall take you on the first 
day the boughs of goodly trees, branches of palm trees, 
and the willows of the brook; and ye shall rejoice be¬ 
fore the Lord your God seven days. And ye shall 
dwell in booths seven days: that your generations may 
know T that I made the children of Israel to dwell in 
booths, when I brought them out of Egypt.” 

(If desired, several stanzas of “Palms and Myr¬ 
tles”, page 39, may be recited here.) 

Second Child: God’s Protection of Israel: This is to re¬ 
mind us that while our forefathers wandered in the 
wilderness they dwelt in frail booths beneath the open 
sky. And the little hut we raise today teaches us that 
even as God cared for Israel in the wilderness, and 
brought him to the Promised Land in safety, so will 
He care for Israel today and deliver him from those 
who persecute him; for some day all mankind will 
bow before Israel’s God and the wandering people 
will be at peace. 

(Here may be recited several stanzas of “All the 
World Shall Come to Serve Thee”, page 40.) 


PROGRAM FOR SUCCOTH 


37 


Third Child: God's Protection of His Children: And the 
Succah stands for God’s protection not only of Israel 
as a people, but of all His creatures whom He would 
protect as a loving shepherd watches his sheep. 

(This child should recite either the Twenty-third 
Psalm or u The Lord Is My Shepherd”, page 41.) 

Fourth Child: The Meaning of the Succah Today: To¬ 
day the Succah must mean not only God’s protecting 
love for Israel and all His creatures, but it must also 
signify our love and our charity for our neighbors. 
As the tent of Abraham stood open on all four sides 
that strangers might come to him from the four cor¬ 
ners of the earth and find a welcome beneath his 
roof, so must our hearts open their doors to those 
whose harvests have not been as rich as ours. We 
who have plenty must make our home an open tent to 
those who are homeless; we whose hands are full of 
blessings must share with those whose hands are 
empty. And in this spirit w T e bring our offerings of 
fruit to share them with those who otherwise would 
not know the joy of the harvest season. 

(The other children of the school bring up their of¬ 
ferings of fruits; if this feature is omitted, the 
exercise may close with a song by the entire 
group.) 


Elma Ehrlich Levinger. 


38 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


THE OLD SUCCAH 

Long ago, when Succoth came, 

We knew just how to build our tent! 

Great creepers from the garden wall 
Towards the opposite fence w r e bent 
To make a fluttering roof of green, 

Where glittered rain or sun-drops bright; 

We tied sweet apples and full grapes 
To the red stems, so strong and light; 

The garden fence, the garden wall, 

And two more walls of rough white wood; 
And here we sang the Yom-tov songs 
And ate the golden Yom-tov food. 

And here the baby’d beg for grapes, 

His small hands and his big blue eyes, 
Beneath a crowd of ruffled curls, 

All reaching up to those green skies 
Where in the leaves the sweet fruit hung; 

And mother’d cut a small bunch down 
And feed them to him, one by one, 

The other children at her gown. 

There’s no room here for such a tent, 

But when the days of Succoth come 
I simply shut my eyes, and go 

Once more to our old garden home. 

—Sulamith Ish-Kishor. 



PROGRAM FOR SUCCOTH 


39 


PALMS AND MYRTLES 
[Hymn for the First Day of Tabernacles] 

Thy praise, 0 Lord, will I proclaim 
In hymns unto Thy glorious name; 

0 Thou Redeemer, Lord and King, 

Redemption to Thy faithful bring! 

Before Thine altar they rejoice, 

With branch of palm and myrtle-stem 
To Thee they raise the prayerful voice— 

Have mercy, save and prosper them. 

May’st Thou in mercy manifold 
Dear unto Thee Thy people hold, 

When at Thy gate they bend the knee 
And worship and acknowledge Thee, 

Do Thou their hearts’ desire fulfil; 

Rejoice with them in love this day, 

Forgive their sins, and thoughts of ill, 

And their transgressions cast away. 

They overflow with prayer and praise 
To Him, who knows the future days. 

Have mercy, Thou, and hear the prayer 
Of those who palms and myrtles bear. 

Thee day and night they sanctify 
And in perpetual song adore; 

Like the heavenly host, they cry: 

“Blessed art Thou for evermore.” 

—Eleazar Kalir. 
[Translated by Alice Lucas.] 

In the “Jewish Year” (MacMillan & Co.). 


40 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

ALL THE WORLD SHALL COME TO SERVE THEE 

All the world shall come to serve Thee 
And bless Thy'glorious name, 

And Thy righteousness triumphant 
The islands shall acclaim; 

And the peoples shall go seeking 
Who knew Thee not before, 

And the ends of earth shall praise Thee, 

And tell Thy greatness o’er. 

They shall build for Thee their altars, 

Their idols overthrown, 

And their graven gods shall shame them 
As they turn to Thee alone. 

They shall worship Thee at sunrise, 

And feel Thy kingdom’s might, 

And impart their understanding 
To those astray in night. 

They shall testify Thy greatness, 

And of Thy power speak, 

And extol Thee, shrined, uplifted 
Beyond man’s highest peak. 

And with reverential homage, 

Of love and wonder born, 

With the Ruler’s crown of beauty 
Thy head they shall adorn. 

With the coming of Thy kingdom 
The hills shall break into song, 

And the islands laugh exultant 
That they to God belong. 

And all their congregations 
So loud Thy praise shall sing, 

That the uttermost peoples, hearing, 

Shall hail Thee crowned King. 

[Translated by Israel ZangwillA 


PROGRAM FOR SUCCOTH 


41 


THE LORD IS MY SHEPHERD, I SHALL NOT WANT 7 ’ 

The Lord my Shepherd is, no want I know; 

He leadeth me where tranquil waters flow; 

I lie in pastures green. 

Yea, though I walk within the gloomy shade 
Where Death doth lurk, I will not be afraid, 

For on Thy staff I lean. 

In vain mine enemies would me despoil; 

My cup o’erfloweth still with wine and oil, 

My food Thou dost provide. 

Thy mercy and Thy goodness both will last, 

And when my days upon this earth are past, 

With Thee I yet shall bide. 

—Re Henry. 


WE THANK THEE 

For flowers that bloom about our feet; 

For tender grass, so fresh, so sweet; 

For song of bird and hum of bee; 

For all things fair we hear or see— 

Father in Heaven, we thank Thee! 

For blue of stream and blue of sky; 

For pleasant shade of branches high; 

For fragrant air and cooling breeze; 

For beauty of the blooming trees— 

Father in Heaven, we thank Thee! 

For mother-love and father-care; 

For brothers strong and sisters fair; 

For love at home and school each day; 

For guidance lest we go astray— 

Father in Heaven, we thank Thee! 

— Anonymous. 


42 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


“FATHER—HERE AM I” 

[This may be sung Ho the melody of “Morn In Its 
Splendor”, by the whole school, or recited by one of the 
Primary pupils after the offerings have been presented .] 

Father, we thank Thee, for the joys of every day, 

And we would serve Thee ... In our own small way, 

We who know such plenty, with the needy let us share, 
Help us make their burden easier to bear. 

Give then, for Israel. Hark when little children cry; 
Children then answer: “Father—Here am I.” 

Great gifts or small ones, all are equal to the Lord, 

Each kindly action brings its own reward; 

So today let’s gather just as much as we can spare; 

It may bring the sunshine to a child somewhere. 

Give then, for Israel. Hark when little children cry; 
Children then answer: “Father—Here am I/’ 

—Fannie Barnett Linsky. 


A SUCCOTH HYMN 

For garnered fields and meadows cropped 
And orchards plucked of peach and pear— 
Lord, what Thy hand has given us, 

For this we bring our grateful prayer. 

To Thee we come with hearts made glad: 

For wheat that is our staff and stay, 

For oats and rye that caught the glint 
Of sunset on a summer’s day. 


PROGRAM FOR SUCCOTH 


43 


With face upturned in sun and rain, 

And stout resolves to do our task— 

0 Lord, who gives to each his due, 

Thy blessings for these do we ask. 

That never faltering, though our arms 
Were weary and our spirits spent; 

That bravely we endured the toil 
And anguish that the seasons sent. 

We thank Thee, yea, for throbs of Love 
That glorify each earth-born soul, 

And link all pulsing hearts to Thee 
In one vast, universal whole. 

—Joseph Leiser. 


THE CORN SONG 

Heap high the farmer’s wintry hoard! 

Heap high the golden corn! 

No richer gift has Autumn poured 
From out her lavish horn. 

Through vales of grass and meads of flowers 
Our ploughs their furrows made, 

While on the hills the suns and showers 
Of changeful April played. 

We dropped the seed o’er hill and plain 
Beneath the sun of May, 

And frightened from our sprouting grain 
The robber crows away. 

All through the long, bright days of June 
Its leaves grew green and fair, 

And waved in hot midsummer’s noon 
Its soft and yellow hair. 






44 JEWISH FESTIVALS IN THE RELIGIOUSr SCHOOL 

And now, with Autumn’s moonlit eves, 

Its harvest-time has come, 

We pluck away the frosted leaves 
And bear the treasure home. 

Let earth withhold her goodly root, 

Let mildew blight the rye; 

Give to the worm the orchard’s fruit, 

The wheat-field to the fly; 

But let the good old crop adorn 
The hills our fathers trod; 

Still let us, for His golden corn, 

Send up our thanks to God. 

—John Greenlecif Whittier. 


PROGRAM FOR SUCCOTH 


45 


Model Program for Succoth 

II 

1. Processional with offerings which are placed on the altar. 

2. Essay on Succoth and Simchath Torah: 

“The People of the Land and the Book”, 

Intermediate or Senior 

3. Song, “En Kelohenu”, Union Hymnal 248. School 

4. Recitation, “The Treasure” ....Intermediate or Senior 

5. Song, “Not Alone for Mighty Empire”, Union 

Hymnal 224 . School 

6. Operetta, “The Golden Staff”. 

7. Closing Song, “America”, Union Hymnal 226... .School 

VARIATIONS 

For No. 4 may be substituted: “O Lord, We Come with Solemn Thank¬ 
fulness” (page 47); “Israel and His Book” (page 47); “A Song for Succoth” 
(page 48); “Simchath Torah” (page 50). 

No. 5, or “Once More the Liberal Year Laughs Out,” Union Hymnal 197. 





46 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


THE TREASURE 

It was good to give thanks to the Lord 
For the sun and the rain, 

For the corn and the wine He bestowed, 

For the golden-wreathed grain; • 

But now, as the festal week ends, 

’Neath the palms which we wave, 

We cry thanks to the Giver of Good 
For the Torah He gave. 

For the Law of the Lord it is good, 

And His precepts are right: 

The simple of heart He makes wise, 

His commandments bring light; 

More goodly His w^ords than fine gold— 

Aye, a treasure to save; 

And we thank, with rejoicing, our God, 

For the Torah He gave. 

0 Harvesters, rich in your spoils, 

Not alone by the bread 
Which we win bv the sweat of our brows 

V 

Are the sons of dust fed; 

Nay, we live by the words of His mouth, 

And, ’neath palms which w T e wave, 

We cry thanks to the Giver of Good 
For the Torah He gave. 

—Elma Ehrlich Levinger, 


PROGRAM FOR SUCCOTH 


47 


0 LORD, WE COME WITH SOLEMN THANKFULNESS 

0 Lord, we come with solemn thankfulness, 

As in the days of old our fathers came, 

For all Thy mercies, great and numberless, 

To praise in sacred song Thy holy name. 

For all the glories of the earth and sky, 

For all the changeful beauties of the year, 

We bring our thanks to Thee, 0 Lord, most High, 

When that the Feast of Weeks again is here. 

Fair are Thine earthly works, and wonders all, 

But not alone for these our thanks we give; 

A greater blessing we this day recall— 

Thy holy Law by which our souls shall live. 

Thy people Israel hear, with joy and awe, 

The ancient Avords, which shall eternal be: 

Abundant peace have they who love Thy Law, 

And perfect rest whose mind is stayed on Thee. 

—Alice Lucas. 

ISRAEL AND HIS BOOK 
An age-worn wanderer, pale with thought and tears, 
With heart heroic and prophetic look, 

Comes clasping to his breast the Sacred Book— 

The amulet of Israel through the years! 

“Behold!” he says, “through ages dark with fears, 
Through travail and through miseries that shook 
The soul of Judah, this he ne’er forsook. 

It is his Book! . . . Therein his God appears!” 

His Book! More glorious with supernal light 
Than all the beacons reared by mortal hands 
Since time first lisped its anguish in the night. 

His Book! That gave a God to all the lands— 
Whose pages shall through us again reveal 
The wondrous promise grief could not conceal! 

—Felix N. Gerson. 



48 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


A 'song for succoth 

The fields are gold with harvest, 

The vines in purple glow; 

Thy people, blest with plenty, 

Their bounteous reaping show; 

Dear God, who gave the sunshine 
And sent the summer rain, 

Shed blessing on the offerings 
We render Thee again. 

Of old the singing pilgrims 

With offerings sought Thy shrine; 

The richest yield of field and tree 
Was consecrated Thine. 

Today we Jewish children 
Our grateful harvest bear, 

To lay upon Thine altar 

With this, our Succoth prayer: 

“Dear God, who gave the harvest”, 

Thy happy children pray, 

“Thanks for the bounteous blessings 
We reap in joy today. 

Teach us to share them gladly 
With those less blest than we, 

Since all we give to others 
We render back to Thee.” 

—Elma Ehrlich Levinger. 


PROGRAM FOR SUCCOTH 


49 


SIMCHATH TORAH 

Full oft has the ark been opened, 

And in the sad procession 

Our fathers bore the sacred Law, 

Their one most dear possession. 

While unto the foe abandoned, 

To ravish and to spoil, 

They left their rich and plenteous store, 
The fruits of a life of toil. 

And into the regions unfathoined 
They bore the precious scroll, 

To shield it or to die for it, 

To pay the exile’s toll. 

Yet in today’s pageant procession 
Of banner and scroll and light, 

The Jew clasps tight the self-same Law 
He bore through oppression’s night. 

Rejoice then, 0 Israel! Thy praise 
Unto Thy Maker give. 

No more the Torah bids thee die, 
Today it bids thee live! 

Let revelry hold its sway then, 

And the hour be given to cheer; 

For the cycle of reading is ended 
On the happiest day of the year. 

And lest the mocker, derisive, 

Avow you delight to be through, 

Lovingly wind it from end to start— 
Begin to read it anew! 


C. David Matt. 





50 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


SIMCHATH TORAH 

\ 

Thy Law* Almighty wisdom, 

Our treasure e’er will be; 

The safely-guarded jewel 
Of Israel’s unity. 

From fathers unto children 
Descends this heritage, 

Firm as the heavens above us, 
Defying time and age. 

The flames illumined Sinai, 

That spot is sacred still; 

And when the Scroll is opened 

Thv voice our souls does thrill. 

«/ 

And, though through generations, 
Toil and hardships met the Jew, 

Yet to Thy holy scriptures 
Unto this day he’s true. 

Let glory, hallelujah, 

From East to West resound; 

Find tongues, ye hills, ye brooklets, 
And help us swell the sound. 

Let everything created 
In grateful accent sing 
To Him who gave the Torah— 
Lord Adonai, our King! 


■Margaret Fireman. 


CHANUKAH 









Chanukah in the Class-Room 


4 4 T F CHANUKAH is a children’s Holiday ’ ’, says 

1 Rabbi Louis Grossmann in his thought-provoking 
series of lesson helps for the holiday, “it must have 
a child-significance ... If we treat Chanukah as a 
mere entertainment, we despoil it of its significance. 
For everything in the School must have educational 
value, or else it should have no place in it. And a 
lesson must be presented from the point of view of 
the needs of the child for which it is meant, or else it 
is irrelevant and futile.” 

This plea for consideration of, the child’s point of 
view in arranging our holiday celebrations is never 
more timely than at Chanukah. Such themes as loy¬ 
alty to Judaism and the struggle of monotheism 
against the paganism of the early world should be 
treated only in the highest grades. As Rabbi Gross¬ 
mann rightly points out, it is the nature side of the 
festival which is the most appealing to the young 
child, who, in spite of our artificial modern environ¬ 
ment, still dwells close to the heart of nature. 

For the Primary Division, then, emphasize the sea¬ 
sonal aspects of the holiday. Even the sheltered city 
child can be made to feel the hardships of the short, 
sunless, winter days to the farmer; with a bit of skill¬ 
ful word painting, such as Longfellow’s description of 
the Famine in “Hiawatha”, the child realizes some¬ 
thing of the utter desolation of savage people at the 

53 


54 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

mercy of the winter’s cold. Then tell how all primi¬ 
tive peoples, suffering from the famine and cold of the 
winter months, Rejoiced at the return of the sun in 
December, for they knew that soon he would bring 
them longer days and warmth and enough to eat. 
They had dances and games to celebrate this happy 
time; they lit great bonfires, which looked like suns 
glowing upon the earth, and carried torches. These 
celebrations happened long ago, but even today people 
all over the earth keep their mid-winter festival and 
rejoice that soon the sun will brighten the earth and 
drive away the winter’s cold. 

And just as in the very old days people lit bonfires 
and swung torches, so we celebrate our Feast of Lights 
with singing and rejoicing and lighting candles. First 
in Germany, and now in Europe and America, Chris¬ 
tian people celebrated their mid-winter holiday by 
lighting candles upon hemlock and pine trees which 
they called Christmas trees. But Jewish boys and 
girls light candles in their menorahs, which are mod¬ 
eled after the lamp that stood in our Temple at Jeru¬ 
salem hundreds and hundreds of years ago. You chil¬ 
dren will receive candles to take home and light every 
night of our festival of Chanukah, the Jewish Feast 
of Lights. 

After this lesson, the teacher should give out the 
paper models for the menorahs and candles (sold by 
Bloch for a trifling sum), which are easily cut out and 
set up, and never fail to please the little ones. If 
these models are not used, menorahs may be drawn in 
outline and colored, or cut out of black or colored 
paper and pasted on white. The most artistic may be 


CHANUKAH IN THE CLASS-KOOM 


55 


pasted upon posters used to announce the holiday pro¬ 
gram. This is also an excellent time for teaching any 
of the “candle drills” or “candle dances” to be used 
in the celebration. 

The second lesson for the Primary Division should 
begin something in this manner: Last week, children, 
we learned how glad everybody is that the winter’s 
cold and hardships are all over. All people celebrate 
the coming of light. But the Jewish people celebrate 
their Feast of Lights to remember how very unhappy 
and dark everything seemed to them long ago, when 
wicked people wanted to hurt them and God sent 
them brave men to bring them light and freedom. 

Here follows the story of Judas Maccabeus, which 
may be told even more simply for very young chil¬ 
dren, with additional facts and color added for chil¬ 
dren with more background: 

Once, long, long ago, when the Jewish people lived 
in a land of their own called Palestine, there was a 
little Jewish boy named Judas. He was a merry little 
boy, full of all sorts of tricks and fond of play, and, 
as he had four brothers, you can imagine what fun 
they had playing together. They liked to play soldier 
best of all, and, somehow, they always made Judas 
their captain; perhaps, because he always led them 
the best. 

In those days there were a great many Jewish 
boys who did not care to go to the Jewish schools and 
to learn about Jewish things. They said, “We don’t 
care to be Jews any more. We want to be like the 
Greeks.” 

The Greeks were a bigger nation than the Jewish 


56 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

people. They had come into Palestine and now ruled 
the country. They tried to make the Jewish people 
stop going to th v eir Temple; they didn’t want the Jew¬ 
ish people to keep their Sabbath any more. They 
wanted the Jewish people to be just like the Greeks. 

And, as I have told you, a great many Jewish boys 
were glad to learn the Greek ways and not go to the 
Jewish schools and study the books of their own peo¬ 
ple. But Judas kept on going to his teacher and 
learned all that he could. And whenever he had any 
time to himself, instead of playing with the Greek 
boys, he would take long walks among the hills 
around Modin, where he lived. He used to find caves 
hidden among the rocks—caves where Jewish soldiers 
could hide if there should be a war. And he would 
say to himself: ‘ ‘ When I am a man I will ask all the 
Jewish boys to join my army. Then if the Greeks 
will not let us alone, we will drive them away, and the 
Jewish people will be free again!” 

Now that is just what happened. The Greek peo¬ 
ple became more and more cruel to the Jews. When¬ 
ever they' found a Jewish man or woman, or even a 
little child, who kept the Jewish laws, the Greeks put 
them to death. Judas was a man now, and, like all 
good people, he hated war. He did not want to see 
the homes of his people destroyed and the country 
laid waste; he did not wish to see brave men die in 
battle, even the Greeks who had been so cruel to his 
people. But he knew that there was no other way to 
drive out the wicked Greeks who tried to keep the 
people of Palestine from being good Jews. 

So Judas gathered his brothers and his friends 


CHANUKAH IN THE CLASS-ROOM 


57 


about him and became their captain. He was a great 
soldier, but it took him a very long time to win the 
war, for the Greeks had more soldiers who were better 
trained and had better weapons. Sometimes Judas 
and his men had to hide in the caves in the hills he 
had discovered when a boy, just as our own George 
Washington had to hide with his tired, hungry sol¬ 
diers, when he fought for the United States so many 
years ago. 

But God helped Judas and his men, and at last 
they drove the wicked Greeks away and were able to 
enter their own Temple at Jerusalem again. They 
cleaned it and made it beautiful, and lit many lights 
in the Temple, and their celebration lasted eight whole 
days. They lit their lamps just as we send up sky¬ 
rockets on Fourth of July, the day America became 
free—just as I told you last week the people used to 
light bonfires at their great winter festivals. For they 
were so happy that light and freedom had come to 
them. And even to this day we light candles every 
night for eight nights during the week of the Cha¬ 
nukah festival, in remembrance of our Jewish Feast 
of Lights and of Judas and his brave soldiers who 
saved the Temple for the Jewish people. 

As in the other holiday celebrations, the ceremonial 
aspect should be stressed in telling the story of the 
festival to the pupils of the Intermediate Division. 
Tell the story of the Maccabean struggle very briefly, 
emphasizing as its climax the celebration at the Re¬ 
dedication of the Temple, so vividly pictured in the 
Book of Maccabees. Tell the tradition that the first 
menorah consisted of candles thrust upon the spear 


58 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

points of Judas’ soldiers. Then comes the story of 
the cruse of oil, with all its picturesque details and 
the happy conclusion so dear to the heart of every 
child. When the victorious army enter the Temple 
polluted by the heathen and wish to re-dedicate it to 
their God, they can find no oil to light the holy lamps, 
since it has all been defiled by the enemy. But a little 
child playing in one of the inner rooms of the Temple 
comes running triumphantly to his mother, bearing a 
cruse of. oil, still unopened and undefiled. This oil 
rekindles the lights in the long-darkened menorah, 
while swift messengers are sent for more oil to feed 
the sacred flame. It is eight days until they return, 
but for eight long days the little flames burn bravely 
on, a miracle which we still celebrate today by burn¬ 
ing lights in our menorahs for eight successive nights. 

This story, by the way, is excellent for class-room 
dramatization; it may be impromptu, or the older pu¬ 
pils may be encouraged to write a simple little play 
on the theme, which can be presented, after a few 
minor changes, as part of the school’s more ambitious 
program. An excellent example of such a play as 
“Ruth”, found on page 255 in this volume, which was 
written and presented by children of the fifth grade. 

Prom the ceremonies of the first Chanukah pass to 
the ceremonial rites which grew up about the festival. 
Explain the significance of the Sham mas, and refer to 
the controversy which arose over the order of lighting 
the candles, some of the early rabbis preferring to be¬ 
gin with eight lights and diminish; others, who finally 
won the day, deciding that the candles should increase 
each night as the Jew should increase in holiness. 


CHANUKAH IN THE CLASS-ROOM 


59 


A peep into Israel Abrahams’ “Festival Studies” 
will give the teacher a fine picture of the joy the Cha¬ 
nukah days brought to our people in medieval times, 
the elaborate festivals in Venice, the simple games 
and merrymaking in Ghetto homes where the Menorah 
burned in every window. If time permits, show the 
children a few pictures of the menorahs created by 
Jewish artists in a time when our people devoted their 
artistic talents only to ceremonial objects, calling their 
attention to any art objects the Temple itself con¬ 
tains, such as the Ner Tamid or the Menorah upon the 
altar. 

If the younger children have not been taught the 
blessing over the Chanukah lights, both the Hebrew 
and the English translation should be taught to the 
children of the Intermediate period. A charming po¬ 
etic version of the latter may be found in Miss Samp- 
ter’s book, “Around the Year in Rhymes”, already 
referred to. An excellent custom now in vogue in 
many schools is to present every pupil with a tin 
menorah and a box of candles to be used during the 
week of the festival. When this proves too expensive, 
it is usually found that the children are very eager to 
purchase their own. By all means check up results 
and find out how many children actually lit the can¬ 
dles every night and how many recited either the He¬ 
brew or the English blessing. In case no party is 
planned for Purim, it will often be found advisable to 
have a Chanukah celebration for the children on Sat¬ 
urday afternoon of Chanukah week; simple refresh¬ 
ments may be served, a short program given, and 
after darkness falls, the menorah lighted with the 






60 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

blessing given by one of the pupils and a song by the 
school. Such a celebration can never take the place 
of a home celebration of the holiday, but it will do a 
great deal to give the festival the flavor of informality 
often lacking in more ambitious school entertain¬ 
ments. 

In treating Chanukah for the Senior Division, let 
the teacher place more emphasis upon its historical 
aspects. The thrilling story of Mattathias and his 
sons should be told at length, from the moment when 
he gives his rallying cry before the altar of Modin to 
the day when the singing people enter their Temple 
and re-dedicate the rescued shrine. It must be a story 
not only of heroes who fought upon the field of battle, 
but the tale of martyrs who died more obscurely but 
no less heroically, that their faith might live. But in 
telling the stories of Eleazar, of Hannah and her seven 
sons, the teacher must not emphasize the horror so 
stressed by the early writers; do not underrate their 
heroism, but do not ignore the fact that from their 
day to the present time countless Jews have died just 
as heroically for their religion. 

In picturing these historical scenes, a brief extract 
from the Books of the Maccabees or the reading of 
several of the verses given below will do much to 
vivify the picture. Nor should the teacher forget to 
call the pupil’s attention to scenes he will see in the 
play to be presented that year, the defiance of Mat¬ 
tathias (Act I, “Light of Israel”) or the filial devo¬ 
tion of Hannah’s sons (“Mother of Martyrs”). 

But the story of battle and martyrdom will be of 
comparatively little value if it remains unspiritualized. 


CHANUKAH IN THE CLASS-ROOM 


61 


The child must learn why the Maccabees and those 
who followed them were willing to fight and die. Not 
all of the following material can be given to any one 
class; such a subject as the struggle between mono¬ 
theism and the Syrian worship of many gods must be 
left to the Confirmation or even Post-Confirmation 
Class. But even the lowest class of the Senior Divi¬ 
sion can be taught something of the background 
against which our fathers waged the first war ever 
fought for religious liberty. 

As Graetz so ably points out, the struggle was 
more than national, since it was the clash between two 
civilizations. Try to give the Senior pupil a glimpse 
of the great gulf between the two ideals, Hebrew and 
Hellenistic—the Hebrew with his passion £or holiness, 
the Greek with his love for beauty. Contrast briefly 
and tactfully the purity of the Jewish home and the 
general looseness of pagan society; picture the Jew 
devoted to his studies, the Greek spending his days at 
the gymnasium. Then show the greatest contrast of 
all—the Jew pledged to the worship of the one God, 
the Greek believing in many, thus making the strug¬ 
gle one between the followers of monotheism and poly¬ 
theism. 

In describing the background of the Chanukah 
story to Seniors, one point must not be overlooked. 
In the days of Judas, the Maccabee, there were many 
Jews who needed no coercion to adopt the heathen 
ways. The Hasmoneans were Jews who remained loyal 
to all that their religion taught; but the Hellenists 
were Jews who loved the Greek ways, adopted their 


62 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

dress and language, and even went so far as to desert 
their Temple for the shrines of the pagan gods. 

Even today—the teacher may tell the more ad¬ 
vanced pupils—we have Jews who are so indifferent 
to their religion, so quick to follow un-Jewish cus¬ 
toms, that they may be called Hellenists. In this con¬ 
nection, the question will surely arise whether Jews 
should keep Christmas, and it should not be difficult 
to compare the celebration of a Christian holiday with 
the eagerness which the Hellenists of old days mani¬ 
fested for keeping non-Jewish customs. Often, when 
the Chanukah festival falls very close to the reputed 
birthday of the founder of the Christian religion, some 
of the pupils are likely to ask questions that have 
troubled them concerning the attitude a Jew should 
take toward Jesus. An excellent study of Jesus as a 
Jewish teacher, written with the child’s perplexities 
in view, will be found in Chapters XIV and XV of 
JackM. Myers’ “Story of the Jewish People” (Bloch). 

For the Senior as well as the Intermediate Divi¬ 
sion, the handwork should apply directly to the Holi¬ 
day scrap-books described in the section devoted to 
Succoth. However, if a historical play is to be given, 
the boys may be urged to make spears, an altar, etc., 
after their regular manual training classes in public 
school; the older girls should be induced to help with 
the costumes, while the younger ones may construct 
jewelry, flower wreaths and other simple properties. 

If no formal entertainment is given, no better time 
could be found for a simple party for the parents of 
the pupils of the Senior Division. All the homely fea¬ 
tures of this essentially home-festival should be em- 


CHANUKAH IN THE CLASS-ROOM 


63 


phasized. The children can themselves prepare and 
serve the simple refreshments and be responsible for 
the informal program, which, it goes without saying, 
should be woven about the holiday. The climax of 
the celebration should be the lighting of the menorah 
with appropriate singing. An excellent home service 
for children and parents for Chanukah has been de¬ 
vised by the late Rabbi J. Leonard Levy. This might 
be made the basis of the evening’s program, and the 
party should be held, if possible, on the first night of 
Chanukah, that the parents may be urged to introduce 
this or some similar service into their own homes and 
have the children light the menorah for the remaining 
nights of the festal week. 

This holiday is especially rich in stories and le¬ 
gends which may be reacl aloud in class, if time per¬ 
mits, or assigned for home reading, the older pupils 
presenting abstracts to be read in class. The refer¬ 
ences, of course, are only for the advanced pupils or 
the teachers. 


64 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


Stories about Chanukah 

References for Intermediates 
Modern 

“Candle Lights” from “A Modern Esther ”—Emily 
Goldsmith Gerson (Greenstone). 

“The Magic Top” from “Breakfast of the Birds ”— 
translated by Emily Solis-Cohen (Jewish Pub. Soc.). 

“The Light that Failed” from “ Jewish Roly day Sto¬ 
ries ”—Elma Ehrlich Levinger (Bloch). 

“The Chanukah” from “Festival Stories ”—Hannah 
Trager (Dutton). 

Historical 

“The Sacrifice at Modin” from “ David the Giant 
Killer ”—Emily Solis-Cohen (Jewish Pub. Soc.). 

“The Story of Hannukkah” from “Jewish Child’s 
Bible Stories ”—Altman (Bloch). 

References for Seniors 
Modern 

“A Hannukkah Night” from “The Young Champion ” 
—Abram S. Isaacs (Jewish Pub. Soc.). 

“What the Candles Say” from “Apples and Roney ”, 
by A. S. Doniach (Bloch). 

Historical 

“Friends” from “ Playmates in Egypt ”—Elma Ehrlich 
Levinger (Jewish Pub. Soc.). 

“The Menorah of Remembrance” from “In Many 
Lands ”—Elma Ehrlich Levinger (Bloch). 


STORIES ABOUT CHANUKAH 


65 


References for Highest Grades and Teachers 

Bible: The Apocrypha (I Maccabees, 1-4; II Macca¬ 
bees, 6-7). 

History of the Jews (Vol. I, Chapters 22-23). Graetz. 

Outlines of Jewish History (Chap. IV). Magnus. 

Jewish Encyclopedia: Hanukkah and related articles 
on ceremonials, etc. 

Bible for Home Reading. (Vol. II, 660-662; 669-670 
(notes); 753-755. Montefiore. 

The Hanukkah Festival. Dr. Louis Grossmann 
(Bloch). 

Moses’ Hanukkah Service (Bloch). 

Hanukkah Services in the Home. Rabbi J. Leonard 
Levy. 

Festival Studies. Israel Abrahams (Greenstone). 

In Many Lands. Elma Ehrlich Levinger (Bloch). 


66 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


The Chanukah Program 

Although the author has already pleaded several 
times for short programs, she will do so again, since 
the long program is one of the most common pitfalls 
for the entertainment director. Especially is this true 
of such holidays as Chanukah, with their tempting 
wealth of material. The writer herself shudders to 
remember how in the days when she was untaught, 
but enthusiastic, she actually crowded into one after¬ 
noon’s program two playlets, one representing Han¬ 
nah’s martyrdom, the other the observance of Cha¬ 
nukah in a modern home—to say nothing of a long 
dialogue when the menorah was lighted, a dance of 
the Chanukah candles, numerous recitations and mu¬ 
sical numbers. The numbers were all short, and for 
the most part well presented, but the mass effect was 
somewhat appalling. 

In a holiday so rich as Chanukah, both in ideas 
and material, choose carefully just what will be your 
principal idea for this year’s celebration, and plan 
your program accordingly. Use your simpler ideas 
as the center of simple programs; reserve your more 
spectacular themes for the next year when Chanukah 
will be celebrated as one of the outstanding features 
of the year’s work. 

In the three model programs which follow, the 
author has attempted to present three programs of 
varying simplicity of theme, length and difficulty. The 


THE CHANUKAH PROGRAM 


67 


first is intended chiefly for informal gatherings in the 
Sabbath School such as parents’ parties, already de¬ 
scribed in the text. Although it contains a few num¬ 
bers for the older children, these can be omitted and 
the program left entirely in the hands of the pupils of 
the Primary and Intermediate Divisions. It will be 
seen that it turns about the nature aspect of the holi¬ 
day. If the matter of costumes and properties proves 
too laborious for such a simple affair—although every 
Sabbath School should have a modest but sufficient 
stage wardrobe on hand—the tableaux also may be 
dropped. 

The second program, while more ambitious, should 
not be featured, but should be given more or less in¬ 
formally. In this the children of the Intermediate Di¬ 
vision present the ceremonial homely aspect of the 
holiday in the little play ‘‘Pictures Out of the Past”. 
A little more emphasis is placed on the historical 
background for the holiday, but all ethical inferences 
are left for the program of the Senior Division. 

This third program should be presented only when 
there are no elaborate entertainments planned for 
Succoth and Purim. The long play, “The Light of 
Israel”, or any other historical drama selected from 
the appended list, again forms the pivot on which the 
whole entertainment turns. Every recitation and song 
should be chosen with this thought in view: that this 
program represents not only the power of Light over 
Darkness, but the heroic victories of our ancestors 
against almost overwhelming odds. The Seniors 
should be largely responsible for this program, al¬ 
though recitations and songs are introduced for the 



68 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

younger children for sake of variety, and that they 
may also have their share in the festival. 

Two short bits of verse to print upon the posters 
or programs are given below, with the reminder that 
even an unskilled artist can make an attractive border 
if he works the menorah into his design. 

t 

Little candles, shed your light, 

And illuminate our night; 

Speak of him who made us free, 

Israel’s hero—Maccabee. 

—Margaret Fireman. 

(The following may be given, with the picture of a child 
sitting beside a menorah ): 

How the story of those days 

Fills my wondering heart with praise, 

And in every flame one sees 
The heroic Maccabees. 


—Judith Ish-Kishor. 


PLAYS FOR CHANUKAH 


69 


Plays for Chanukah 

Intermediate Division and Senior Division . Modern 

“The Unlighted Menorah”. Elma Ehrlich Levinger. Pub¬ 
lished with this volume, 

for which may he substituted 

“A Make-Believe Chanukah”, eight boys, seven girls, minor 
characters; a three-act historical play done in modern 
fashion with a modern prologue. Joseph Leiser. (Syn. • 
and Sch. Ex.). 

“Enemies of Israel”, seven boys, five girls, minor characters; 
a one-act fantasy; contains several songs and a drill 
for lighting the candles. Louis Broido. (Syn. and 
Sch. Ex.). 

“Pictures Out of the Past”, two boys, four girls; a charm¬ 
ing little play written about a group of tableaux based 
on the Chanukah story. Louis Witt. (Syn. and Sch. 
Ex.). 

“Dreambook”, ten boys, three girls; introducing the charac¬ 
ters of the Chanukah story in a modern setting; bright¬ 
ened with lively songs. Henry Woolf. (Bloch.) 

“A Unique Chanukah Party”, three boys, four girls; a quick- 
moving little fantasy with music; introduces the charac¬ 
ters of the Chanukah story. Henry Woolf. 

“A Maccabean Cure”, ten boys, three girls; a pleasant little 
play in which a group of boys enact the Chanukah 
storv for a friend unable to come to Sabbath School, 
from “The Power of Purim and Other Plays”. Irma 
Kraft. (Jewish Publication Society.) 



70 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


“The Brass Candelabra”, four boys, two girls; a play of 
modern life, the action turning about the discovery of 
an old Chanukah lamp. Emily Gerson. (Bloch.) 

“What’s Tonight?”; three boys, five girls; a rollicking farce 
in two acts; tlhe scene is laid at a celebration of the 
Chanukah festival. Samuel S. Grossman. (Young 
J udea.) 

“When the Candles Smoked”, fifteen boys, eight girls (part 
can be doubled); quaint lively allegory, showing how 
the Chanukah candles tell a little boy the story of the 
holiday. Judith Ish-Kishor. (Bloch.) 

“The Capture”, three boys, one girl; exciting drama which 
portrays how a quick-witted girl saved her people on 
Chanukah. Rufus Learsi. (Young Judea.) 

“Hannah”, five girls; a short play for young children, tell¬ 
ing how a modern little girl tries to be like Hannah. 
Jessie E. Sampter. (Young Judea.) 

Intermediate Division and Senior Division . Historical 

“Light of Israel” Elma Ehrlich Levinger. Published with 
this volume; for 'which mav be substituted: 

“Mother of Martyrs”, ten boys, one girl; a one-act play 
telling the story of Hannah and her sons. Samuel S. 
Grossman. (Young Judea.) 

“David of Modin”, eleven boys, two girls; a play in a pro¬ 
logue and three acts, portraying the adventures of 
a young soldier in the Maccabean army. Jacob Liebson. 
(Bloch.) 

Note: Several of the above plays would be better for 
a little judicious cutting; in case an extremely poetic his¬ 
torical play is desired, Longfellow’s “Judas Maccabeus” may 
be presented, if only the most important scenes are shown. 
“A Chanukah Songster” by A. W. Binder (Bloch) and the 
operetta, “Judas Maccabeus” (the same author and pub¬ 
lisher) will be found most useful when musical programs 
are desired. 



PROGRAM FOR CHANUKAH 


71 


Model Program for Chanukah 

I 


1. Service VIII, Union Hymnal, or Service prepared 

by Rabbi J. Leonard Levy, 

Read by Seniors or Post-Confirmands 

2. Song, “En Kelohenu”, Union Hymnal 288. School 

3. Essay on Chanukah, “The Feast of Lights”, 

Intermediate 

4. Recitation, “The Miracle of the Cruse of Oil”, 


Intermediate 

5. Lighting the Chanukah Candles, 

Primary or Intermediate 

6. Recitation, “Joseph's Candle”, 

Primary or Intermediate 

7. Dance of Chanukah Candles. Primary Pupils 

8. Feast of Lights (Recitation and Song, Union 

Hymnal 192). School 

9. Tableaux: Story of Chanukah. 

10. Closing Song, “Rock of Our Salvation”, Union 

Hymnal 189) . School 


VARIATIONS 

For No. 4 may be substituted the recitation, “The Cruse of Oil” (page 
73), for a Primary Pupil; or the recitation. “The Shammas” (page 74), 
for an Intermediate or Senior. 

No. 5, the Primary children would find the drill by Miriam Myers (page 
78) most suitable; the drill by Rabbi Moses (page 75) is more appropriate 
for Intermediates. 

For No. 6 may be substituted: “Chanukah Dreams” (page 81); 
“Golden Lights” (page 81); “My Chanukah Candles,” (page 84). 

No. 9, if a play with tableaux is desired, an excellent one for the purpose is 
“Pictures Out of the Past,” by Rabbi Louis Witt (published by the Union 
of American Hebrew Congregations). 






JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


THE MIRACLE OF THE CRUSE OF OIL 
A Tale in Verse for Chanukah 

They stood within the Temple court, 

Those Jews who fought and won, 

The warriors who subdued the Greeks 
And Mattathias’ son; 

Tall Judas stood above the throng 
His face to God upraised, 

And thanked Him for his victory 
And offered Him his praise. 

The priests stood in the Temple courts 
The heathen had defiled; 

At last there spoke an ancient priest, 

A patriarch grave and mild: 

“Lord Judas, we have cleansed the House 
You bought us with your sword; 

Yet we must halt in our great feast 
Which magnifies the Lord. 

“The sacred Lamp upon his shrine 
It still unlighted stands, 

For we can find no holy oil 
Unstained by heathen hands; 

And though we send swift messengers, 

’Twill take them many days 
To bring the oil to light the lamps 
Before the Lord we praise.” 

As Judas frowned, a little child, 

Who’d w'andered off to play, 

Ran boldly out before the crowd 
And did in triumph say: 

“Lord Judas, and you mighty men 
Who bled to save our land, 

Lo, I have found a cruse of oil 
Unstained by heathen hand.” 


PROGRAM FOR CHANUKAH 


73 


“And it was so! The little child 
Had found a cruse of oil, 

Well hidden in an inner court, 

Uncounted in the spoil. 

It still was sealed; the happy priests 
Relit the sacred flame, 

While men and women wept for joy 
And praised His holy name. 

’Tis said the sacred oil burned on 
For eight long, happy days; 

The people held high festival 
And never ceased their praise— 

So we keep Chanukah eight days 
In memory of the names 
Of Judas and his mighty men 
Who lit the sacred flames. 

—Elma Ehrlich Levinger. 


THE CRUSE OF OIL 

“Through God our people now are free, 
Thanks to the mighty Maccabee. 

And now to God our praise we cry: 

1 His Temple shall we purify.’ ” 

But when the thankful people came 
To light once more the sacred flame, 

Before tihe altar—all their toil 
Found but one cruse of holy oil. 

Lo, while the messenger was gone, 

The single cruse of oil burned on, 

And through the eight long, wondrous days 
The single cruse gave forth its rays. 


74 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


So still we light the candles here, 

Remembering that time of fear, 

Remembering that time of praise, 

When one cruse burned for eight long days. 

—Lee J. Levinger. 


THE SHAMMAS v ^' 


This little taper with its flame 
The other candles all ignites, 

And therefore it receives the name 
Of Shammas—Servant of the Lights. 


Its brothers all it humbly serves 
To kindle and illuminate, 

And so I think it scarce deserves 
To stand alone—left to its fate. 

0 modest taper, in thy light 
A symbol I can plainly see, 

A token thou art in my sight 
Of Israel’s noble history. 

The souls of nations he enflamed 

With God-like fire from heaven above, 

For this of old he hath been named— 

Priest-people, serving men in love. 

—Translated from the original of A. Kubla, 

by Dr. H. Berkowitz. 


PROGRAM FOR CHANUKAH 


75 


THE CHANUKAH LIGHTS 

[To be recited by seven children for the lights, the Pro¬ 
logue, ivho lights the Shammas, and the Epilogue who, be¬ 
fore the last line spoken in dhorus, places the Shammas in 
the menorah.] 

Prologue: 

Eight lights we burn before the shrine 
To celebrate this feast divine 
In memory of the Maccabees: 

Whose deeds heroic never cease 
To fill our hearts with sacred trust 
That win we shall, and fight we must, 

In every age and every place, 

As champions of God’s trust and grace. 

(advancing to menorah ) 

Each of these eight sacred flames 
A noble Jewish deed proclaims; 

Let each then tell its own brief story, 

Though few the words, yet rich the glory. 

First Light: 

Who did amid the heathen world 
First Jehovah’s flag unfurl? 

Who broke idolatry’s baneful chain 
And freed the soul of man from pain? 

Abraham holds that lofty place— 

The friend of God and of his race. 

Second Light: 

Who brought to men the heavenly light, 

That shows the paths of truth and right? 

That Word revealed on Sinai’s mound 
Is now obeyed the world around. 

“Be pure and just”, was Moses’ Law, 

“Stand not of man, but God in awe.” 



JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


Third Light: 

The people often went astray; 

Who brought them back to Heaven’s way? 
Who but the Seers, forever blest: 

Deborah’s song, Samuel’s behest, 

Elijah brave, Isaiah true— 

They taught the people what to do. 

Fourth Light: 

Then Ezra came, the priestly scribe, 

The great restorer of his tribe; 

How vast a power, that thus could save 
A people ready for the grave! 

And “Search the Scriptures” was his rule, 
And “knowledge gained in wisdom’s school.” 

Fifth Light: 

The years rolled on and brought no hope, 
Nor strength with odds of ill to cope; 

Their courage lost in deep dismay 
Under the Syrian tyrant sway; 

But then the Maccabees appear, 

Those heroes without blame or fear. 

Sixth Light: 

When Rome, with strong, resistless force, 

To Zion’s hill did bend her course, 

Who saved the precious Law divine 
And built for it another shrine? 

The faithful Rabbis , west and east, 

Replaced the prophet and the priest. 


PROGRAM FOR CHANUKAH 


77 


Seventh Light: 

See Judah in the Middle Age, 

The Christian’s scorn, the Moslem’s rage! 
Fanatics, blind with frantic zeal, 

Bid him to other Gods to kneel; 

He knows but One, eternal, true— 

The Martyr dies but cannot rue. 

Eighth Light: 

And now we live in brighter days; 

Past are the dark and cruel ways, 

For liberty inspires the soul 
To reach the Messianic goal. 

The might of right breaks every chain, 
And Israel’s light shines forth again. 


Epilogue : 


We children of the Hebrew race 
Approach today with joyous face 
The Lord of Hosts, the only One, 

And praise Him for His wonder done. 
After so many thousand years 
His faithful people still appears 
As fresh and sturdy as of yore, 

As rich a fruit, as sound a core. 

On Asia’s plains, by Egypt’s stream, 

Where glaciers shine, volcanoes gleam, 
Where Tiber flows, Mississippi rolls— 
Everywhere the Jew his God extolls. 

And on this sacred festal day, 

Our souls illumined by its ray, 

We, too, proclaim with one accord: [All] 

Who is like Thee, Eternal Lord! 



[Taken by permission from the Sabbath School Hymnal 
of Dr. I. S. Moses, owner of the copyright.] 


78 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


OVER THE CHANUKAH LIGHTS 


[A dialogue for eight little hoys who, each in turn, 
lights his candle before beginning his first line.] 


First Boy: 
Second Boy : 

First Boy: 


Second Boy: 
Third Boy: 


Fourth Boy: 

Second Boy: 
Fourth Boy: 


Fifth Boy: 


Sixth Boy: 


Two thousand years and more ago— 

Oh pshaw! You must be fooling; 

Two thousand years— 

That’s what I said; 

I guess I’ve had some schooling. 

Now listen; please don’t talk so much, 

And you will hear the story 

Of how the Jews fought, long ago, 

For Israel’s faith and glory. 

Well, go ahead. 

On Chanukah, 

Our Feast of Dedication— 

Sometimes it’s called the Feast of Lights—* 
This time of celebration- 

-The wicked king, Antiochus,- 

(Stepping forward to face him) 

The Syrian King! I know him! 

You silly boy! How to be quiet 
I wish you all would show him. 

(Others put fingers on their closed lips) 

This dreadful king forbade the Jews 
To keep the law of Moses. 

Said he, “Each one shall surely die 
If he my wish opposes.” 

Some said they’d pray to gods of stone—• 
Of course they just pretended! 

But some were brave, although they knew 
Their lives might soon be ended. 





PROGRAM FOR CPIANUKAH 


79 


Second Boy: 


Seventh Boy: 


Eighth Boy: 


Third Boy: 


First Boy: 


He’d not scare me, that crazy king, 

I’d shake this in his face, sir! 

(Shakes fist ) 

And say, “How dare you interfere with me 
And with the Jewish race, sir?” 

A family called the Maccabees— 

A father and five brothers- 

All said to God thev would be true, 

And soon were joined by others. 

Three years they fought the Syrians, 

At last their foes defeating; 

They killed or chased them all away, 

Their victory completing. 

Jerusalem was all lit up 
In grand illumination; 

The people all were joining in 
This happy celebration. 

Now let us celebrate today, 

And sing in happy chorus; 

But first I’ll bless the festal lights 
As our fathers did before us. 


[The others stand reverently as he recites the traditional 
blessing over the lights. Then they form in twos, in the or¬ 
der in which they have spoken, and march off, singing “God 
of Might”]. 

—Miriam Myers, in “Hebrew Standard”. 


JOSEPH’S CANDLE 

[To be recited by a girl, who can suggest the voices of 
the two children and the mother.] 

We lit the lights for Chanukah, 

Sister and Son and I; 

’Twas twilight, and the baby stars 
Were peeping through the sky. 



80 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


Said little Sister, as she watched 
Her candle’s yellow flare: 

“I wonder if our Joseph keeps 
His Chanukah up there.” 

Son’s eyes were bright with childhood’s faith: 

“Why, brother isn’t far; 

It’s Chanukah in Heaven now, 

And Joseph lights his star!” 

—Elma Ehrlich Levinger. 


A CANDLE DANCE FOR CHANUKAH 

One by one the eight little girls who represent the 
Chanukah Candles dance upon the platform to a simple, 
lively melody. They should be dressed exactly alike, in white 
or yellow, to represent tallow (for the latter use crepe 
paper), no ribbons on their hair, and should be as nearly 
as possible of one size. Each in turn performs some simple 
steps before taking her place in the row which is formed 
near the back of the platform. 

The Shammas or the Spirit of Light dances in. She 
should wear a dress of red, orange and yellow, to represent 
flame, or of one of these colors, covered with tinsel or any 
other glittering trimming. The best dancer in school should 
be chosen for this part. She performs a solo dance, which 
can be any sprightly dance adapted to this particular drill. 
Upon her arm she carries eight wreaths of red crepe paper 
and tinsel, each ornamented with a flaring bow. During the 
dance she weaves her way between the dancers, placing her 
crown of fire upon each head. She continues with her dance, 
which concludes when she removes the crown from each of 
the candles. They all sink slowly to the ground as she also 
bends in a low courtesy, suggesting by their position and 
bowed heads candles slowly dying in their sockets. 


PROGRAM FOR CHANUKAH 


81 


CHANUKAH DREAMS 


Chanukah I think most dear 
Of the feasts of all the year. 

I could sit and watch all night 
Every twinkling baby light. 

Father lights the first one—green; 
“Hope”, it always seems to mean— 
Hope and joy, that shine anew 
In the heart of every Jew. 

Jacob lights the blue, for “Truth”, 
Pink, for “Love”, is lit by Ruth. 

Then the white one falls to me— 
White that shines for “Purity”. 

How the story of those days 
Fills my wondering heart with praise! 
And in every flame one sees 
The heroic Maccabees. 



— J. Ish-Kishor. 


GOLDEN LIGHTS 


X 


0 golden lights, shine out anew, 


Shine out with radiance bright and true; 
While gazing on your golden glow 
You speak to me of long ago. 

Of patriots who shed their blood 
For Israels cause, for faith, for God. 
Did not they sacrifice their all 
When clarion-like there came the call: 
“Who’s on the Lord’s side, come to me, 
Lord among the gods, who is like Thee?” 


—Janie Jacobson. 


82 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


CHANUKAH LIGHTS ARE SHINING 

A Song for Chanukah 

Chanukah lights are shining brightly 
Over the world this winter night, 

And our hearts grow tender and grateful 
As again gleams forth their light. 

We tell o’er the olden story 
Of the Maccabeans bold, 

How they yielded not to tyrant— 

Braver story ne’er was told! 


Written fairly on their banner 

Gleamed their watchword overhead: 

“Who is like to Thee, Eternal!” 

By His wisdom were they led. 

Never wavered they, nor trembled, 

Though so few, true to the right, 

Loyal ever to their watchword, 

So they triumphed over night. 

As each year is told the story, 

Little lights, send forth your ray! 

“Who is like to Thee, Eternal!” 

Shall our watchword be today! 

— Hadasscih. 


PROGRAM FOR CHANUKAH 


83 


CHANUKAH 

We welcome thee joyfully, glorious night, 

We hail thee with pleasure, 0 Chanukah light! 

Its lustre, so brilliant, invites us to joy, 

Invites us to praise Him, the great Adonoy! 

He was our Redeemer in dark davs of old, 

When Syria’s mad ruler, proud, cruel, and bold, 
Proclaimed through Judea: “Your God I defy; 

Bow down to my idols and worship—or die!” 

Of brave, pious martyrs these bright candles tell, 

Who yielded their souls, praying: “Hear Israel!” 

Of Hannah, the mother, and seven sons so dear, 

Who sealed with their life-blood their faith without fear. 

But Israel’s God never slumbers nor sleeps, 

He ever is near him who mournfully weeps; 

He saw’ our oppression, and, hearing our pleas, 

Awakened to save us, the brave Maccabees. 

Be welcome then—welcome, 0 glorious night— 

We hail thee vdth pleasure, 0 Chanukah light! 

Its lustre, so brilliant, invites us to joy, 

Invites us to praise Him, the great Adonoy! 

—Louis Stern . 


84 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

MY CHANUKAH CANDLES 

[To be recited by a small child standing before the 
lighted menorah.] 

Eight little candles 
All in a line, 

Eight little candles 
Glitter and shine. 

Eight little candles 
Smile and relate 

Tales of a people 
Heroic and great. 

Eight little candles— 

Each little flame 

Whispers a legend 
Of honor and fame. 

Eight little candles 
Bashfully hide 

The soul of mv nation— 

%/ 

Its glory and pride. 

Eight little candles, 

Sparklets of gold, 

Tell me of battles 
And heroes untold: 

Heroes undaunted, 

And noble and true— 

Heroes who knew 

How to dare and to do; 

Heroes who taught 
Generations to be 

That man can be brave 
And that man can be free. 


PROGRAM FOR CHANUKAH 


85 


Eight little candles; 

Look at them well— 

Floods could not quench them, 

Tempest not quell. 

% 

Modest and frail 

Is their light; yet it cheers 

Israel in exile 

Two thousand years. 

Eight little candles, 

Enchanting my soul, 

Point to me—show me 
An aim and a goal; 

Whisper: Life’s struggles 
Are not all in vain; 

Son of the brave, 

You shall triumph again! 

Eight little candles— 

Their quivering gleams 

Speak to my heart 
In a language of dreams. 

Dear to my soul 
Is their smile and their cheer, 

Sweet to my ear 
Is their whisper to hear. 

Courage, but courage, 

Maccabee’s brave son, 

Fight for the right 

And the battle is won! 

—P. M. Baskin. 

> 

(Copyright 1920, The Stratford Co., Publishers, Boston, 
Mass.) 


86 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


CHANUKAH 

Little candles, shed your light 
And illuminate our night. 

Tell your tale of conquest won 

. 

By Judea’s warrior son— 

Of the faith-born, wondrous power, 

Granted in our darkest hour; 

Speak of them who made us free: 

Israel is champion—Maccabee. 

Had we courage to be free 
Would we need a Maccabee? 

What is Slavery’s iron chain 
To the thrall of heart and brain? 

What’s the tyrant’s rage, so blind, 

To the listless human mind, 

Or the champion’s cunning skill 
To the independent will? 

What is worse—a cell’s dim light 
Or the soul’s perpetual night? 

Wake them! rouse them! candles bright, 
Sleeping Israel, with your light! 

Teach them that our chains of old 
Meant but passing pain untold. 

But the chains we forge each day 
We alone may break; 0 say 
That if we’d be wholly free 
We can’t wait for Maccabee. 

—Margaret Fireman. 




PROGRAM FOR CHANUKAH 


87 


THE FEAST OF LIGHTS 1 

Kindle the taper, like the steadfast star 
Ablaze on evening’s forehead o’er the earth, 

And add each night a lustre, till afar 

An eightfold splendor shine above thy hearth. 

Clash, Israel, the cymbals, touch the lyre, 

Blow the brass trumpet and the harsh-tongued horn; 
Chant psalms of victory till the heart take fire, 

The Maccabean spirit keep new-born. 

Remember how, from wintry dawn till night, 

Such songs were sung in Zion, when again 
On the high altar flamed the sacred light, 

And, purified from every Syrian stain, 

The foam-white walls with golden shields were hung 
With crowns and silken spoils, and at the shrine 
Stood, midst their conqueror-tribe, five chieftains, sprung 
From one heroic stock, one seed divine. 


Five branches grown from Mattathias’ stem, 

The Blessed John, the Keen-Eyed Jonathan, 

Simon the fair, the Burst-of-Spring, the Gem, 

Eleazar, Help of God; o’er all his clan 
Judas, the Lion-Prince, the Avenging Rod, 

Towered in warrior-beauty, uncrowned king, 

Armed with the breastplate and the sword of God, 

Whose praise is: “He received the perishing.” 

1 This may be given as a recitation by an older pupil, combined with a 
song by the whole school. As soon as the speaker takes her place on the plat¬ 
form and recites the first four lines the children sing the same stanza after 
her. (Union Hymnal 192.) This is repeated with lines 5-8. The speaker 
finishes the poem, omitting the third stanza, if desired, not leaving the 
platform until the school has sung the concluding four lines. 


88 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


They who had camped within the mountain-pass, 

Couched on the rock, and tented 'neath the sky, 

Who saw from Mizpah’s height the tangled grass 
Choke the wide Temple-courts, the altar lie 
Disfigured and polluted—who had flung 

Their faces on the stones, and mourned aloud, 

And rent their garments, wailing wfith one tongue, 
Crushed as a wind-swept bed of reeds is bowed. 

Even they by one voice fired, one heart of flame, 

Though broken reeds, had risen, and were men, 

They rushed upon the spoiler and o’ercame, 

Each arm for freedom had the strength of ten. 

Now is their mourning into dancing turned, 

Their sackcloth doffed for garments of delight, 
Week-long the festive torches shall be burned, 

Music and revelry wed day with night. 

Still ours the dance, the feast, the glorious Psalm, 

The mystic lights of emblem and the Word. 

Where is our Judas? Where are our five-branched palm? 

Where are the lion-warriors of the Lord? 

Clash, Israel, the cymbals, touch the lyre, 

Sound the brass trumpet and the harsh-tongued horn, 
Chant hymns of victory till the heart take fire, 

The Maccabean spirit leap new-born! 


—Emma Lazarus. 


PROGRAM FOR CHANUKAH 


89 


THE SPIRIT OF CHANUKAH 

A Set of Tableaux for the Chanukah Program 

[The Header stands concealed behind the curtains and 
recites the description of the tableau as soon as the curtain 
is drawn. The music is played more softly during the read¬ 
ing. The violin will be found the most suitable .] 

I 

Reader: Israel mourns for her martyred dead. In days of 
old Antiockus, the Syrian king, decreed that every Jew 
within his realm must bow to the Grecian gods or suffer 
death. Men, women, and even little children preferred 
to die rather than to forsake the faith of their fathers, 
and Israel bowed her head in anguish for her martyred 
dead. 

Picture: A tall, slender girl of a distinct Jewish type rep¬ 
resents Israel. She is dressed in long, trailing garments 
of some dark material; her hair hangs about her shoul¬ 
ders. She should be posed in profile against a curtain 
or screen of some bright color—preferably red—her 
head leaning against her right arm, her left hand trail¬ 
ing a palm branch at her side. 

Music: Slow and somber. 


II 

Reader: Israel gives a sword to her defender , Judas the 
Maccabee. But there rose in the land a defender, Judas 
Maccabeus, and to him Israel gave the sword, that he 
might go forth and battle for the right. 

Picture: Israel stands facing the audience, about to place 
her sword in the hands of Judas, who kneels at her 
feet, looking up into her face. He wears a purple robe, 
helmet and breastplate. 

Music: Solemn and martial. 


90 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


III 

Reader : Israel rekindles the Chanukah tapers for the chil¬ 
dren of today. Centuries have passed since our fathers 
fought and died for the faith which they have left to 
us, but even to this day Israel lights the Menorah of 
Remembrance, that our little children may look upon it 
and pass down the sacred light through the ages. 

Picture: Israel stands surrounded by three (or five) little 
children dressed in contrasting colors. Several cling to 
her dress. The youngest stretches his hands to the 
lighted menorah she holds above their heads with one 
hand, the other hand resting upon the head of one of 
the little tots. 

Music: At first the melody of the Chanukah hymn is played 
and continues during the reading. As the reader con¬ 
cludes the children in the tableaux and those in the audi¬ 
ence sing the first stanza. 


Elma Ehrlich Levinger 


PROGRAM FOR CHANUKAH 


91 


Model Program for Chanukah 

II 

1. Opening Song, “Rock of Ages”, Union Hymnal 


189 . School 

2. Lighting the Candles. Intermediate 


3. Essay, Chanukah in Other Times and Today, 

Intermediate 

4. Tableaux Recitation, “Before a Men or ah”, 

Primary or Intermediate 

5 . Song, “Ten Thousand Martyrs Died for Israel's 

Cause”, Union Hymnal 133.. School 

6. Recitation, “Judas Maccabeus to His Soldiers”, 

Intermediate or Senior 

7. Song, “Pledging Our Lives and Our Strength”, 


Union Hymnal 135 . School 

8. Play, “The Unlighted Menorah”. Seniors 


9. Closing Song, “America”, Union Hymnal 226_ School 

VARIATIONS 

No. 2 may be given as a drill (see the two on pages 92 and 93) or one 
child may light the candles and say the traditional blessing over them. 

No. 4 should be omitted if the program grows too long, or if the play 
presented should, like the “Chanukah Dream Book” or “Pictures Out of 
the Past,” include tableau effects. In this case, any of the recitations sug¬ 
gested below should be given. 

For No. 6 may be substituted: “The Feast of Lights” (page 97); “A 
Chanukah Song” (page 98); “Song of Judas Maccabeus” (page 99), or 
the author’s adaptation from Longfellow, “The Youngest Son” (page 100), 
if no longer play is given. 

No. 8. If desired, no play need be given for this program, or one of the 
shorter, more modern plays from the list given below may be substituted. 







92 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


CANDLE DRILL 

First Child (lighting a candle ): 

To God, the only One, we sing with might, 

Triumphant torches in His honor light, 

And, like their flames, our nation’s prayers ascend, 

Grateful for His mercies without end. 

Second Child: 

And next to God, let us give praise to him, 

The valiant Maccabean, who withstood 
The foe of Israel, and her glory dim 
In victory’s resplendent light renewed. 

Third Child: 

Three candles lit, as three years Israel 
Hath mourned and pined since Appollonius, 

Smooth mouthpiece of the cruel Antiochus, 

Proclaimed the law which moved us to rebel. 

Fourth Child: 

When tyrant sword sought life, when tyrant hate oppressed, 
And Israel no safety knew, nor rest, 

But hounded still to the four corners of the earth, 

In caverns mourned her dead, and still Jehovah blest. 

Fifth Child: 

Five candles glow, and fivefold glows our thanks 
To Mattathias’ five most valiant sons, 

Who fired with zeal our all-disheartened ranks, 

Whose virtues brought Jehovah’s benisons. 

Sixth Child: 

This candle in reverent memory I light 

To our heroes, our martyrs, who fell in the flight; 

Even as day is led in by the glorious dawn, 

So their hero souls led to victorv on. 

V 


PROGRAM FOR CHANUKAH 


93 


Seventh Child: 

The seventh candle, a memorial 
To Hannah’s sainted children, those who fell 
First-offerings on the altar of the Lord, 

A sheaf of lilies cut by tyrant sword. 

Eighth Child: 

After the war, eager to sanctify 

Anew God’s Temple, there of oil we found 

For the Menorah just a day’s supply, 

Yet eight long days it shed its lustre round; 

Thus God the Lord hath wrought a wondrous deed 
In token that He never fails in need. 

Chorus : 

He never faileth in the hour of need, 

Is ever in our midst—go where we may— 

Blessing all those that His commandments heed; 

He is our hope and refuge night and day. ^ 

From “Judas Maccabeus”, by Aaron Drucker. 


THE EIGHT CHANUKAH LIGHTS 1 

With fervor and joy we give thanks to the Lord, 

And glory and praise to His name we accord, 

While we greet with great gladness this glorious night 
And piously kindle each Chanukah light. 

To God who is One, and whose name is but One, 

We’ll ever feel grateful for what He has done; 

When all our race was as dark as the night, 

Said the Guardian of Israel, “Let there be light!” 

1 To be recited as a drill for eight children, the first stanza in chorus, 
or as a recitation over the lights. 


94 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


The Commandments God gave to our nation alone, 

Whose words were engraved on two tables of stone; 

And our people were chosen, with zeal and with might, 

To spread through the world the great heavenly light. 

Our fathers most nobly have striven to be 
As true to their God as the patriarchs three, 

Whose faith was a star which was shining so bright 
That the gloom of the world was illumed by its light. 

Four parts of the world—north, south, west and east— 
See the Israelites keeping the Chanukah feast, 

Who, just like ourselves, are performing the rite 
Of piously kindling each Chanukah light. 

The five Hasmoneans, whose memory dear 
The sons of our people will ever revere, 

With the courage of heroes did fight for the right, 

And God’s Temple they cleansed and rekindled the light. 

Six days we must labor and do all our work, 

And woe unto him who his duty doth shirk! 

Though the battle of life is a hard one to fight, 

With heaven’s assistance our task is made light. 

/ 

When the seventh day comes, by God hallowed and blest, 
We should joyfully welcome the day of sweet rest, 

For our lives are made happy and rendered more bright 
By the joys of the Sabbath, its peace and its light. 

May the eight days of Chanukah strengthen our mind 
To continue to labor for God and mankind, 

Till the day shall arrive when all men will unite 
To serve the one God and to walk in His light. 

—Isidore Myers. 


PROGRAM FOR CHANUKAH 


95 


BEFORE A MENORAH 

[To be recited by a child seated before a lighted Men- 
orah a little to one side of the curtains which, when drawn, 


reveal the tableaux.] 

In the candle rays I see 
Lovely pictures beckoning me: 

Judas, with his shield and sword, (1) 

Pledged to battle for the Lord. 

Eleazar—steadfast, strong— (2) 

’Mid the mocking heathen throng; 

Hannah, straight as candle’s flame, (3) 

Sons who glorified her name. 

Soldiers all, they smiled in pride; (4) 

Glad and unafraid they died. 

God of Israel! may I be (5) 

A soldier worthy them and Thee! 


—Elma Ehrlich Levinger. 

Tableau 1. Judas in armor and sword, standing in 
heroic attitude. 

Tableau 2. Eleazar, an old man dressed in flowing 
white garments, stands facing fearlessly a group of brightly- 
robed Syrians and several soldiers who hold drawn swords. 

Tableau 3. Hannah, a stately woman in dark purple 
garments, her seven sons grouped around her, stands proudly 
before Antiochus. He is seated upon his throne and leans 
threateningly toward the group. 

Tableau 4. The parted curtains show the above figures 
of the martyrs grouped together at one end of the stage; at 
the other the figure of Fame; a tall, regal figure, crowned 


96 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

with laurel, stands before a large tablet in which she appears 
to inscribe their names. 

Tableau 5. The same as “4”, except that Fame stands 
facing the audience, while the reciter has risen, and speaks 
the last two lines with arms raised in invocation. 


JUDAS MACCABEUS TO HIS SOLDIERS 

0 brothers, who have laid aside 
The ploughshare for the sword, 

Who gather from the hills and plains 
To battle for the Lord: 

If ye have hopes of honor, 

Or to reap wealth are fain, 

Serve not the cause of Israel, 

But seek your homes again. 

I have no golden gifts to give, 

Our land is stripped and bare; 

Nor Grecian gauds and raiment rich— 

Behold the rags I wear! 

They sleep on ivory couches, 

The rocks must be your bed; 

Their tables groan with plenty, 

My men eat bitter bread. 

No glories crown my faithful men, 

Who know the traitor’s shame, 

Until they meet in Syrian courts 
The death I dare not name. 

My fighting hands are empty; 

My promises are grim; 

Yet ye who honor Israel’s God 
Will pledge your swords to Him. 

—Elma Ehrlich Levinger. 


PROGRAM FOR CHANUKAH 


97 


THE FEAST OF LIGHTS 

Thrice welcome, glorious Feast of Light! 

Thy presence we all feel, 

And with our heart and soul and might 
We greet thee now with zeal. 

When chaos filled this world of ours, 

And darkness black as night, 

From out the depths His voice broke forth: 
“Y’he Or!” There shall be light! 

The light of Law became the guide 

By which the worlds marched into space, 
And suns and stars and seas joined in 
To run Time’s ceaseless race. 

But lo! there stepped upon this earth 
God’s image breathed in man, 

That he might prove the truth and worth 
In Jehovah’s perfect plan. 

This light is but our very Soul 

Which points the road that man must trod; 
And glowing in his thought and deed 
Shall lead him ever up to God. 

Religion is the light of Love 
Whose precious, golden rays 
Shall scatter doubt and darkness 
And brighten all our days. 

The Maccabees this passion felt; 

They battled bravely on, 

That Life and Freedom may be held 
From daylight until dawn. 


98 


JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


Three cheers for that heroic band, 

Whose numbers few, though brave, 

Fought for their faith and fatherland 
And our religion saved. 

Then hoist the banner of this day! 

Let cheerful voices chime! 

Let hate and anger flee away! 

God bless this light divine! 

— Mrs. Abram Simon. 



A CHANUKAH SONG 

Valor is yours, and strong desire 
To kindle the flame of your altar fire; 
Heroes of the old, and heroes now, 
Wreathing with laurels your noble brow; 
Victor in battle, strong and true— 

March on, a task is 'waiting you! 


Sons of the Maccabees, hear the call 
Echoing aloud to you and all: 

Born amid this hilly land, 

Whose shrines are fouled by foeman’s hand, 

Men of Judah, there’s work to do— 

March on, a task is waiting you! 

Brave as of old! Your fathers fought— 
Pilgrims who journeyed here and sought 
Freedom to labor; the right to be 
Known and loved as true and free: 

Sons of Judah, their souls imbue— 

March on, a task is waiting you! 

—Joseph Leiser. 


PROGRAM FOR CHANUKAH 


99 


SONG OF JUDAS MACCABEUS BEFORE THE BATTLE 

OF MASPHA 

On, warriors and chiefs! Every step we have trod, 

Though blood-stained with carnage and heaped with the slain, 
Bear witness we fight for the glory of God, 

Whose aid we have asked, nor entreated in vain. 

Attest it you armies, whose glittering array 
At noonday outshown in his splendor the sun, 

Attest it ye proud-girded warriors, who lay 

Unhonored and cold when the battle was done. 

* 

They came to subdue us. Oh, God of the just, 

Thy arm was our shield, Thy protection our power; 

Still aid and defend us, oh, Thou whom we trust, 

In prosperity’s pride and affliction’s dark hour. 

When we cease to remember the martyrs, whose blood 
They have poured out like water, may we be forgot; 

When w'e cease to remember the fierce pangs they withstood, 
May our strength be derided, our memory a blot. 

Oh, falter not when their fierce, glittering host 
Comes spreading destruction and blight o’er the land; 
Remember proud Syria, how vain was her boast, 

And firm be your hearts like the rocks where you stand. 

Then on, can ye waver when Heaven’s pure light 
Smiles approvingly down on the path we have trod? 

On! on! be it victory or death! ere the night 
We have conquered or died for the glory of God. 

—Rebekah Hyneman. 


) 


) 


t > 


) 


100 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

THE YOUNGEST SON 

Characters: Antiochus; Hannah; Sirion, her youngest 
son. 

Hannah (alone before the curtain ): 

Be strong, my heart! Break not till they are dead, 

All, all my seven sons; then burst asunder. 

I do not murmur; nay, I thank Thee, God, 

That I and mine have not been deemed unworthy 
To suffer for thy sake, and for Thy Law, 

And for the many sins of Israel. [Approaches curtain .] 

I can hear within the sound of- scourges: 

I feel them ere than ye do, 0 my sons, 

But cannot come to you. I, who was wont 
To wake at night at the least cry ye made, 

To whom ye ran at every slightest hurt— 

I cannot take you now into my lap 

And soothe your pain; but God will take you all 

Into His pitying arms, and comfort you, 

And give you rest. 

[Enter Antiochus] 

Are they all dead? 

Antiochus (bidding Sirion follow him from behind the cur¬ 
tain) : 

Of all thy seven sons one only lives. 

Hannah: 

They have died a death so full of life 

That I ought rather to rejoice than mourn ( drawing Sirion 
to her). 

Wherefore art thou not dead, 0 Sirion? 

Wherefore art thou the only living thing 
Among thy brothers dead? Art thou afraid? 


PROGRAM FOR CHANUKAH 


101 


Antiochus : 

0 woman, I have spared him for thy sake, 

For he is fair to look upon and comely; 

And I have sworn to him by all the gods 
That I would crown his life with joy and honor, 
Heap treasures on him, luxuries, delights, 

Make him my friend and keeper of my secrets, 

If he would turn from your Mosaic law 
And be as we are—but he will not listen. 
Therefore I beseech thee, 

Who art his mother, thou wouldst speak with him, 
And wouldst persuade him. I am sick of blood. 

Hannah: 

Yea, I will speak with him and will persuade him. 
0 Sirion, my son, have pity on me, 

Who fed and nourished thee, and brought thee up 
With the dear trouble of a mother’s care 
Unto this age. If thou art grateful, Sirion, 

If thou dost love me—fear not this tormentor, 

But, being worthy of thy brethren, take 
Thy death as they did—be thy mother’s son, 

And die as bravely as thy brothers died. 

Antiochus : 

I am mocked; yea, I am laughed to scorn! 

Sirion : 

Whom wait ye for? 

Never will I obey the king’s commandment, 

But the commandment of the ancient Law, 

That was by Moses given unto our fathers, 

And thou, 0 godless man, that of all others 
Art most wicked, be not lifted up, 

Nor puffed with uncertain hopes, uplifting 
Thy hand against the servants of the Lord, 

For thou hast not escaped the righteous judgment 
Of the Almighty God, who seeth all things! 



102 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

Antiochus : 

He is no God of mine: I fear him not. 

Sirion : 

My brothers, who have suffered a brief pain, 

Are dead; but thou, Antiochus, shalt suffer 
The punishment of pride. I offer up 
My body and my life, beseeching God 
That He would speedily be merciful 
Unto our nation. 


Antiochus : 

Ye shall both perish. 


Hannah: 

My Sirion, I am proud of thee. 

Antiochus : 

Be silent! 

Go to thy bed of torture in yon chamber, 

Where lie so many sleepers—heartless mother! 

Thy footsteps will not wake them, nor thy voice, 

Nor wilt thou hear, amid thy troubled dreams, 

Thy children crying for thee in the night! 

(Exit Antiochus behind curtains) 

Hannah : 

0 Death, that stretehest thy white hands to me, 

I fear them not, but press them to my lips, 

That are as white as thine; for I am Death; 

Nay, am the mother of Death, seeing these sons 
All lying lifeless. Come, my Sirion! 

(They pass behind the curtain) 

Adapted from Longfellow’s “Judas Maccabeus”. 

by Elma Ehrlich Levinger. 


PROGRAM FOR CHANUKAH 


103 


Model Program for Chanukah 


III 


1. Opening Song, “Where Judah's Faithful Sons 

Are Found”, Union Hymnal 193. School 

2. Essay, The Meaning of Chanukah, 

Intermediate or Senior 

3. Musical number. 

4. Play, “Light of Israel” . Intermediates and Seniors 

5. Closing Song, “Rock of Ages”, Union Hymnal 

189 . School 

VARIATIONS 

Instead of No. 3, any of the following recitations may be given: “The 
Banner of the Jew” (page 104); “Chanukah Hymn” (page 105); “The 
Jewish Warrior” (page 106); “Chanukah” (page 106). 





104 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

THE BANNER OF THE JEW 

Wake, Israel, wake! Recall today 
The glorious Maccabean rage, 

The sire heroic, hoary-gray, 

His fivefold lion lineage: 

The Wise, the Elect, the Help-of-God, 

The Burst-of-Spring, the Avenging Rod. 

From Mizpah’s mountain-ridge they saw 
Jerusalem’s empty streets, her shrine 
Laid -waste, where Greeks profaned the Law 
With idol and with pagan sign. 

Mourners in tattered black were there 
With ashes sprinkled on their hair. 

Then from the stony peak there rang 
A blast to ope the graves; down poured 
The Maccabean clan, who sang 
Their battle-anthem to the Lord. 

Five heroes lead, and following, see, 

Ten thousand rush to victory! 

Oh, for Jerusalem’s trumpet now, 

To blow a blast of shattering power, 

To wake the sleepers, high and low, 

And rouse them to the urgent hour! 

No hand for vengeance—but to save 
A million naked swords should wave. 

Oh, deem not dead that martial fire, 

Say not the mystic flame is spent! 

With Moses’ law and David’s lyre, 

Your ancient strength remains unbent. 

Let but an Ezra rise anew 
To lift the banner of the Jew! 


PROGRAM FOR CHANUKAH 


105 


A rag—a mock at first—ere long, 

When men have bled and women wept 
To guard its precious folds from wrong, 

Even they who shrunk, even they who slept, 

Shall leap to bless it and to save. 

Strike! for the brave revere the brave! 

—Emma Lazarus. 



CHANUKAH HYMN 

Lord, the true that follow Thee 
Beam in vict’ry’s radiant light, 
Fill’d their hearts with joyous glee 
Even in the darkest night. 


Roaring billows, wild and fleet, 
Onward pressed the enemy’s band; 
Israel’s remnant, Jacob’s seat, 

How wilt thou their might withstand? 

Rise ye heroes, rise to fight 

For your standard, truth divine, 
Not by numbers nor by might, 

By His spirit ye shall shine. 

And inspired by such appeal 
Every man to hosts increased; 

And they fought with holy zeal 
Till the tyrant-hold released. 


Lord, Thy truth, Thy holy love, 
Is our cherished banner still; 
And in faith for evermore 
Thy command we follow will. 


—Adolph Huebsch. 


106 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


THE JEWISH WARRIOR 

Come, you gold-braided generals and admirals, 
Who told you blood is the sign of struggle? 
Who told you struggle must mean destruction? 
Who told you strugglers wear uniforms? 

Who told you battles are fought by youf 

Come, you bold commanders, skilled in war, 

And I will show you a well-planned struggle, 

The most astounding earth has seen, 

Making your shining brigades look foolish, 

And your smart cavalcades a derision! 

Come, put your heads together, 

Look in thru the broken window-pane, 

Crowd around the low-thatched house; 

What do you see? 

Only a hoary old man, 

Reading with his sorrow-shaded eyes 
In a moldy, time-worn book, 

Before two candles. 

(From “Pain — Struggle”.) H. Segal. 
CHANUKAH 

The hand of Time moves o’er the dial, 

And guides the seasons through the year; 

It drives the sorrow from our hearts— 

Behold—the Feast of Lights is here! 

The Feast of Lights—old mem’ries stir, 

And pride within our breast soars high, 

We live again in ancient days, 

When Judah’s glory was the cry. 


PROGRAM FOR CHANUKAH 107 

We see the Maccabees of old 

Bow low within the house of God, 

Where Syrian hands defiled the halls, 

Where Israel’s patriarch had trod. 

Now light we tapers for their deeds, 

Awak’ning in each heart a prayer 
That we may, like the Maccabees, 

The glory and the valor share. \ 

The Feast of Lights—a time when hope 
Throws off the yoke of sorrow’s rod, 

To wing its way above the flames 
That leap to glory and to God! 

—Cecelia G. Gerson. 







PURIM 



Purim in the Class-Room 


I T IS to be understood that a great many of the fol¬ 
lowing suggestions will be found practical only in 
larger schools with a full quota of classes of every 
age, although in some cases several classes may be 
combined. Again, the more elaborate handwork may 
take up too much of the time assigned for class-room 
recitation, and will have to be completed by the chil¬ 
dren either at home or at special meetings set aside 
for the purpose. But every grade can co-operate and 
be made to feel responsible for its share in the Purim 
entertainment. 

The story should be told in every class, with special 
emphasis upon the features most acceptable to the lis¬ 
teners. The story should be carefully reviewed by 
the teacher, who will decide which points she wishes 
to bring out to her hearers, and, if they belong to the 
Intermediate or Senior Divisions, what additional ma¬ 
terial they will be able to grasp. If a play is to be 
given, it is a wise thing for the teachers to know its 
story that she may use it for illustrative material, 
doubling its value for the children when they see the 
performance. If a modern comedy like a “Sick 
Purim” is given, she may tell something of masking 
for the festival and the old-time custom of the stroll¬ 
ing Purim Players; while even the little ones may pre¬ 
fer to send their gifts to an orphan asylum if they 

111 


112 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

hear the play will tell the story of orphan children. 
Should the “Star of Judah” be given, the Seniors 
may be interested to discuss such questions as how the 
Jews first came under Persian rule and the identity of 
the Ahasuerus of the story. Haman’s charges in the 
second act may be read and compared with charges 
brought against the Jew of our own day. 

Class-room dramatization will prove a delight to 
the Primary children. Tell the story very briefly, 
picking out the characters as you mention them. Let 
the children act out the tale, using their own words 
for dialogue and avoiding prompting as much as pos¬ 
sible. With children of the Intermediate Division it 
is often a delightful exercise to discuss the story at 
length; plan with them what episodes would make 
good scenes in a play and assign the dramatization of 
the story for the next lesson. In this way the author 
has received really creditable little sketches, both 
modern and ancient, based upon the Purim festival. 

For the Primary children, coloring pictures from 
the story, such as Mordecai riding upon his horse, is 
always a treat. They may also cut and paste pictures, 
or sew them with bright wool when an easy outline 
is pricked on cardboard. All of them will be able to 
string beads worn by the characters in the play; 
those far enough advanced in their school work may 
be trained to cut characteristic silhouettes to trim the 
posters announcing the program. Cut-out objects for 
Purim—a crown, a mask and a Shalach Monoth box— 
are on sale at Bloch Publishing Company, New York 
City, and can be purchased for a trifling sum. The 


PURIM IN THE CLASS-ROOM 


113 


crowns and masks can be worn for a Purim party or 
masquerade; the boxes are just the thing for the chil¬ 
dren to fill with candy as Purim gifts for children less 
fortunate than themselves. 

The children of the Intermediate and Senior Divi¬ 
sions may often be held responsible for the properties, 
and in some cases the costumes, explicit directions 
being given in the class-room and the work being done 
either at home or in their own clubs. Teachers some¬ 
times complain that “it is more work to show the 
children than to do the work myself.” But it is one 
of the author’s proudest memories that she obtained 
her first control over the star-badd)oy of his class as 
she labored with him over the shaky loom that the 
handmaiden used in the “Star of Judah”. 

Parties and Masquerades are often one of the best 
ways of celebrating the festival, especially when a 
program is out of the question. But there is a little 
edification or point in giving parties to children often 
surfeited from the pleasures of dancing school and the 
picture show. If a party is given, the children should 
do at least a tiny share toward making it a success, if 
only to make their own costumes. Elaborate hired 
costumes for the masquerade should be tabu, each 
teacher planning with her class what each member will 
wear and helping them devise them out of material 
on hand or the ever-useful crepe paper. If this is 
done, the pernicious habit of awarding a prize to any 
individual child may be abolished, the class presenting 
the best appearance on the whole receiving a banner 
or some similar token. 


114 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

The refreshments should be simple, the decorations 
likewise. There should be games 1 and dancing, and, 
if desired, a very short program. Several musical 
numbers by the children themselves, and the Esther 
Pantomime, given with the other program material in 
the Appendix, should be ample. If the pantomime is 
given the children may wear their masquerade cos¬ 
tumes ; it is performed behind a sheet, and care should 
be taken lest the children crowd too closely together, 
thus spoiling the picture. 

But the party becomes really worth while when it 
is given for somebody else. If the old Jewish custom 
of remembering joy days by giving charity is recalled, 
the party may take the form of a Shalach Monoth. In 
no case should the children have their own pleasure 
before even the littlest ones of the Primary Depart¬ 
ment have contributed their share toward some local 
children’s charity. However, if it is at all possible, 
they should give the party themselves. In a large 
school this might mean overcrowding, but the diffi¬ 
culty could be overcome by allowing either the Inter¬ 
mediate Division or the Seniors to act as hosts to chil¬ 
dren of their own age. 

Here again caution must be exercised, or the at¬ 
tempt to teach our children the principle of Jewish 
charity becomes a farce. A certain Lady Bountiful 
once decided that her class of confirmands should en¬ 
tertain a dozen children from the Home for the 
Friendless for Purim. She took up a collection from 
her pupils—pitifully small when one considered how 

1 Some excellent Purim games devised by Rabbi Harold F. Reinhart 
will be found after Purim Program III. “A Set of Purim Games” es¬ 
pecially suitable for clubs is now on sale by Young Judea. 


PURIM IN THE CLASS-ROOM 


115 


much they spent for their own personal pleasures— 
and appointed a committee to purchase the refresh¬ 
ments and favors. The committee bought lavishly, 
and Lady Bountiful footed the extra bill, teased them 
for their extravagance, and spent the afternoon of the 
party chatting with several friends in a corner of the 
vestry room, making no attempt' to teach her pupils 
how to entertain their guests. 

On the other hand, a certain Sabbath School super¬ 
intendent persuaded his children to give a much sim¬ 
pler Purim party than usual that they could afford to 
ask a few guests from the Orphanage. The children 
made the favors themselves, and the money brought 
for ice cream represented real sacrifices on their parts, 
while the guests went home each carrying one of the 
pupil’s favorite books or toys. 

The idea of Shalach Monoth may be carried out in 
many ways, such as gifts of fruit and flowers for the 
hospitals, scrap-books made by the Primary children 
for the children’s ward, etc. And if the giver is 
taught to give himself with his gift, perhaps the re¬ 
vival of at least one Purim custom will be justified. 

Not only plays, as was suggested earlier, but Purim 
stories may be written. It has been found in some 
cases to stimulate interest in the observances of the 
holiday by having a story contest for the children of 
the Intermediate and Senior Divisions, giving two 
prizes for the two best stories from these groups 
which deal with the plot connected with Purim. Or a 
poem or essay may be substituted, the two prize¬ 
winning stories, essays or poems being read at the 
public program by the successful contestants. 


116 JEWISH FESTIVALS IN THE KELIGIOUS SCHOOL 

In telling the Purim story, especially to older chil¬ 
dren, the teacher will find supplementary legends as 
well as modern stories very valuable for stimulating 
interest. Many of the stories in the appended list 
will be found good for supplementary reading, should 
the teacher find no time for them in the class-room. 
For the teacher, Ginzberg’s “Legends of the Jews” 
(Jewish Publication Society) is especially helpful if 
she has any skill in adapting and expanding a story. 


STORIES ABOUT PURIM 


117 


Stories about Purim 
For Intermediates 
Modern 

“A Modern Esther’’ from “A Modern Esther”. Emily 
Goldsmith Gerson (Greenstone). 

“The Purim Pussy” from “Jewish Holyday Stories”. 
Elma Ehrlich Levinger (Bloch). 

“The Festival” from “Festival Stories of Child Life in 
a Jewish Colony”. Hannah Trager (Dutton). 

Biblical 

“In Shushan the Capital” from “David the Giant 

Killer”. Emily Solis-Cohen (Jewish Pub. Soc.). 

• 

For Seniors 
Modern 

“Esther” from “Jewish Children”. Sholom Aleichem 
(trans. by Berman). (Knopf.) 

“The Purim Players” from “In Many Lands”. Elma 
Ehrlich Levinger (Bloch). 

Biblical 

“The Sprig op Myrtle” from “Playmates in Egypt”. 
Elma Ehrlich Levinger (Jewish Pub. Soc.). 

References for Older Children 

Article “Purim” and related articles in Jewish Ency¬ 
clopedia and the Book of Esther. 

No piecemeal references should be given to the latter; when the child 
is able to read it through he should be given the splendidly written narrative 
in its complete form. 


118 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


The Purim Program 

In preparing the Program, one “Don’t” looms 
above all others: “Don’t make it too long.” Few 
programs suffer from brevity; many a really fine pro¬ 
gram has been almost ruined because the audience 
toward the end grew surfeited with too many excel¬ 
lent numbers. 

This warning, which appears more than once be¬ 
tween the covers of this volume, should he especially 
heeded on Purim, when the central feature of the en¬ 
tertainment is usually a full-length play. 

Nothing can he a greater mistake than the belief 
that a number of short selections are less tiresome 
than one sustained number. Two or three successive 
recitations or musical numbers, no matter how well 
performed, have been known to drive an audience 
into boredom, where a carefully arranged set of tab¬ 
leaux interspersed by appropriate descriptive songs 
or recitations is likely to hold the interest for a longer 
period. An ideal afternoon program for children 
should last about an hour and a half, an evening one 
about an hour. 

There should be no long speeches by visitors inter¬ 
ested in the Sabbath School; anyone invited to ad¬ 
dress the pupils should be reminded tactfully but 
forcefully that the children are anxious to get to their 
program. If the rabbi feels the holiday cannot pass 
unless he tells the old story, which should have been 


THE PURIM PROGRAM 


119 


told in the class-room, let him make it as brief as pos¬ 
sible. The chairman who announces the numbers 
should limit his remarks to the information which the 
audience needs—which should he supplied to him in 
writing before the program begins. 

Every detail of the program should be carefully 
worked out, as the author has already urged in the 
opening pages. When a program of proper length 
has been drawn up and approved, the director should 
turn a deaf ear to any suggestion that little Marjorie 
expects to give her sailor’s hornpipe or the Stein child 
always recites on Purim. Try to pick out separate 
numbers which fit in with the central idea of the holi¬ 
day—and let nothing disturb its unity, whether it be 
the ceremonial, ethical or historical aspect of the fes¬ 
tival. 

The question of grading the entertainment has al¬ 
ready been discussed. If possible, the recitations and 
songs should be in the hands of the younger children, 
who may also be called upon to take the part of little 
children in the play or tableaux. The children of the 
Intermediate and Senior groups should present the 
play and the recitations requiring more grasp and in¬ 
sight than can be expected of the younger pupils. 

In alternating the program, it is always a good 
plan to keep the needs of the older divisions in mind. 
In the first two programs presented in the following 
pages it will be seen that the first is considerably 
lighter in tone, dealing chiefly with the folk aspects of 
the holiday. It should have especial appeal for the 
Intermediate children, and, if desired, no Seniors need 
be used. The second program, with its emphasis on 


120 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

the historical aspects of the holiday, can be put into 
the hands of the Senior pupils. In both cases, it 
should be the aim of the director to keep the shorter 
numbers in harmony with the spirit of the central 
feature of the program. 

It is generally advisable to use a play as the center 
of the Purim program. The days are past when the 
slogan for juvenile entertainments seemed to be, “any¬ 
thing is good enough for children”. The play should 
be chosen with the greatest of care; in many cases 
judicious adapting will make it more suitable for the 
group who are to present it. Often a play that is 
hopelessly long and involved goes well when cut down 
to a few essential scenes. Be sure to place it near the 
end of the program for the sake of the climax—also 
to allow enough time to assemble and dress the cast. 

Singing by the school pupils should be made a fea¬ 
ture of every program, if only to make every child 
feel that he is having a share in the performance. In 
some cases the program can consist entirely of musical 
numbers in addition to a pageant or group of tab¬ 
leaux, as in the third program presented here. 

It is well to remember in this connection that 
nothing is more grateful to a Sabbath School audience 
than variety; for this reason, whenever possible, it is 
best to adapt the recitations; have them given by a 
child in appropriate costume or divided among several 
children. This is especially good for a long recitation 
which might otherwise grow monotonous, such as 
“A Purim Retrospect”. 

Should the material given in the following model 
programs not prove acceptable, additional available 


THE PURIM PROGRAM 


121 


material will be found in the list of plays and recita¬ 
tions. For it has been the aim of the author to make 
these programs as flexible as possible, trusting to the 
ingenuity of the director to evolve an ideal Purim 
entertainment from the resources of his own school 
with one unifying, underlying motif for the festival 
in mind. 

Whenever possible, have a printed program, which 
saves confusion and delights the actors and their 
families. A characteristic design may be used, such 
as a comic mask or Purim, rattle. These symbols, cut 
from black paper by the Primary department, may be 
pasted upon posters used to announce the entertain¬ 
ment. 

Upon these posters and upon the programs it is al¬ 
ways effective to have a suitable quotation. Quota¬ 
tions from the Book of Esther are especially appro¬ 
priate (see 9:20), or if verse is desired, one of the 
following may be found acceptable: 

BLESSING ON PURIM 

To be printed below a picture of a child reading the 
Scroll of Esther. 

Blessed art Thou, 0 God, our King, 

The Lord of life and everything, 

Whose word has hallowed Israel’s soul 
And bade us read Queen Esther’s scroll; 
(Because her courage and her faith, 

When God had pity in old days, 

In exile saved us all from death 
And let us live to sing His praise). 

Jessie E. Sampter (“Around the Year in Rhymes”). 


122 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


PURIM 

Purim is with us at last, and again comes the wonderful day, 

Bringing us memories we cherish, and bidding all cares pass 
away; 

Telling of memories our people won without bloodshed and 
war, 

Showing how noble our heroes, how great is the God we 
adore! 

From “The Purim Players”, by Samuel S. Grossman. 


PLAYS FOR PURIM 


123 


t 


Plays for Purim 

Intermediate Division . Modern 

“A Sick Purim”. Elma Ehrlich Levinger. (Published with 
this volume), 

for which may he substituted 

“Miriam’s Purim Play”, four boys, six girls; minor char¬ 
acters; easy to present; suitable for small, informal en¬ 
tertainment. Ruth Levi Wolf. (Bloch.) 

“The Purim Basket”, two boys, six girls; very slight; could 
be coached by an older pupil. Emily Goldsmith Gerson. 
(Bloch.) 

“Casting of Lots”, seven boys, three girls (girls may take 
some of the boys* parts); minor characters; a very suc¬ 
cessful farce which the children always enjoy present¬ 
ing. Abraham Burstein. (Young Judea.) 

“The Purim Players”, eight boys, five girls (parts may be 
changed); minor characters; a delightful comedy with 
music; a few of the characters presenting the Purim 
story. Samuel S. Grossman. (Young Judea.) 

“A Dream of Purim”, nine males, three females; a bright 
little version of the old story. Abraham Burstein (Young 
J udea.) 

Senior Division . Historical 

<( Star of Judah”. Elma Ehrlich Levinger. (Published with 
this volume.) 






124 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

“Pageant of Esther”. Elma Ehrlich Levinger. (Published 
with this volume.) 

for which may he substituted 

“Esther the Queen”, twelve boys, eight girls; minor charac¬ 
ters; interesting historical pictures. Leon H. Elmaleh. 
(Bloch.) 

“Esther the Jewish Queen”, four boys, three girls; minor 
characters; excellent for those desiring a short historical 
play. Edward M. Chapman. (Bloch.) 

“Haman’s Conspiracy” , thirteen boys, two girls; minor char¬ 
acters ; a lively drama with music; effective, but requires 
careful coaching. Henry Woolf. (Bloch.) 

“Esther, Queen of Persia ”, six boys, three girls; minor char¬ 
acters; several of the scenes could be omitted if a shorter 
play is desired. Janie Jacobson. (Bloch.) 

Note: Several of these plays are out of print, but it is 
hoped a new edition will appear shortly. “The Purim 
Songster” by A. W. Binder (Bloch) should be found ex¬ 
tremely valuable in preparing a miscellaneous program. 


PROGRAM FOR PURIM 


125 


Model Program for Purim 

I 

[Carried out chiefly by the Primary and Intermediate 


Divisions. ] 

1. Song, “En Kelohenu” . Entire School 

2. Prologue, “My Basket” . Eight Little Girls 

3. Essay, “Old Purim Customs” . Senior Pupil 

4. Song, Hymn 193, Union Hymnal . Entire School 

5. Recitation, “Sonny's Purim” . Intermediate Pupil 

6. A Set of Purim Pictures . Intermediate Pupils 

7. Dance of the Purim Jesters . Primary Pupils 

8. Recitation, “Esther Before the King” .... Senior Girl 

9. Song, Hymn 194, Union Hymnal . Entire School 

10. Play, “A Sick Purim” . Intermediate Pupils 

11. Song, “Star-Spangled Banner” . Entire School 

VARIATIONS 


For the Prologue, No. 2, the director may substitute “An Old-Fashioned 
Purim” (page 381). 

For No. 5, the short recitation, “A Purim Wish” (page 134). 

If a shorter program is desired, No. 6 may be substituted for the play, 
or dropped entirely. 

For No. 8, the recitation, “A Purim Harlequinade” (page 135); “Maid 
of Persia” (page 136); “Purim” (page 137); “Hadassah” (page 140), or 
“About Purim” (page 139). 












126 JEWISH FESTIVALS IN THE KELIGIOUS SCHOOL 


PURIM PROLOGUE—“MY BASKET” 

[Before the curtain is drawn a little girl, in her hat and 
coat and carrying a basket covered with a white cloth, enters 
and bows to the audience. Her entire speech must be given 
with a merry sprightliness of manner. She is followed by 
seven smaller girls in white dresses who constantly tease her, 
trying to peep into the basket, etc.] 

Girl ( with basket ): 

Good Purim, dear children! My greetings to you; 

Now, don’t pull—I can’t linger—I’ve got so much to do, 

For mother just gave me this basket, you know, 

And “ ’Tis Purim”, said mother. “I want you to go 
To all Jewush children, and tell them for me 
That I’ve put in your basket” —( she pretends to uncover it, 
then laughs roguishly and puts it behind her )— 
Don’t you wish you could see 
What my basket contains? ’Tis a gift gay and bright, 

But I know you won’t guess—though you try hard all night. 

Others (crowding eagerly) : 

Let’s see what you have brought us. 

[She shakes her head smilingly, but after they have teased 
her she uncovers the basket. They peep in, then turn 
away looking much disappointed. Girl laughs and 
comes forward, addressing the audience .] 

They didn’t like ray mother’s gift; 

I’ll show you in a minute 
The lovely present I have brought- 

[Shows the basket laughingly to the audience. It is empty. 
The other girls come back, several half crying, and speak 
in indignant chorus.] 

Others : 

You know there’s nothing in it! 



PROGRAM FOR PURIM 


127 


Girl (to audience ): 

Ha, ha, ha! I’ve fooled you, too! 

[To others ] : Don’t cry! I’ll tell you what I’ll do: 
Although I’ve brought no gift in that [points to basket ] 

I’ll give you something from my hat! 

[She takes twelve red cardboard letters from beneath her 
large hat and scatters them upon the ground. The seven 
children, pretend to scramble for them; each finds her 
letter—already agreed upon—the last child pretending 
to pout because only one is left , and stand in a row to 
form the word SH AL AC HM ON OT H] 

Girl (to audience) : 

Our program is the gift I bring: 

For you we’ll act and dance and sing; 

We’ll show you Esther and the king, 

We’ll show you Haman, cruel and sly, 

And noble, loyal Mordecai. 

We’ll dance and prance with Purim toys [girls wave their 
rattles] 

Until you’re weary of our noise; 

We’ll sing you songs of Purim cheer— 

[with sweeping bow] This is our present, children dear. 

[All run off merrily] 

—Elma Ehrlich Levinger. 

SONNY’S PURIM 

[To be recited by a girl clever enough to suggest the 
voice of the child and his mother.] 

“What’s a Purim f’ Sonny said, 

As I tucked him in his bed; 

(Sonny, who’ll be three in spring, 

Thinks I know just everything!) 

So I sat upon his bed; 

“Purim is the day”, I said, 


128 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

When we tell how Esther brave 
Saved her people from the grave; 

How to Mordecai the king 
Gave his royal signet ring, 

Saying, ‘This I give to you— 

Save the life of every Jew/ ” 

Sonny said: “Yes, yes, I know. 

But this happened long ago; 

We keep Purim—can’t you say 
What our people do today?” 

“For our party Grandma makes 
Homontaschen, Purim cakes. 

We will dance and we will sing, 

Brother Joe will play the king; 

Sister will be Purim’s queen, 

Ben as Hainan will be seen; 

And they’ll act the Purim story 
Which still rings with Israel’s glory.” 

Sonny sighed: “I’d like to sing 
Or dance, or play I was a king.” 

But I tucked him warm in bed, 

Kissed him hard, and laughing, said: 

“Not this year—when you grow tall 
And old as Joe, you’ll play them all; 

But just be good, and I’ll give you 
A drum and a big gregar, too. 

That you, the littlest of boys, 

May drown the others with your noise.” 

Sonny chirped from his warm nest: 

“I like the noisy part the best!” 

— Elm,a Ehrlich Levinger. 


PROGRAM FOR PURIM 


129 


A SET OF PURIM PICTURES 

Ten Tableaux telling the Chief Events of the 

Purim Story 

Arranged by Elma Ehrlich Levinger 

[NOTE—In presenting the following tableaux, great 
care should be exercised to have one tableau follow another 
as quickly as possible. Each picture should be shown to 
the audience as long as the “Reader” continues to give the 
explanatory remarks. A child with a clear, strong voice, 
should be chosen for the part of the “Reader”; he should be 
dressed as a scribe, and read his lines from an open scroll. 
If desired, appropriate music may be played during the 
scenes.] 

Picture I 

[Description : The tivo conspirators, Bigthan and Te- 
resh, are shown plotting together near the front of the stage, 
while Mordecai stands behind them listening, showing his 
horror at their words.] 

Reader : Two of the king’s chamberlains plotted to slay the 
king, Ahasnerus. But Mordecai overheard them and 
warned the king, and saved his life. 

[An appropriate poem coidd be recited instead of this 
reading, and similarly with the others.] 

Picture II (a) 

[Description: Vashti, dressed in her queenly robes, her 
royal maidens about her, is shown standing in an attitude of 
haughty refusal before the king’s messenger, who bows be¬ 
fore her.] 

Reader: Ahasuerus, the king, commanded the queen, Vashti, 
to appear before him as he feasted with his princes. 
But Vashti would not appear before him and his drunk¬ 
en court. 


130 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


Picture II (b) 

[Description: Vashti ’s royal maidens are shown cower¬ 
ing near the door in attitudes of terror. The messenger 
stands ready to depart, Vashti’s crown and queenly robes in 
his hands. Vashti lies upon her couch weeping .] 

Reader: So the king, Ahasuerus, commanded that Vashti’s 
crown and royal estate be taken from her and that she 
should no longer be his queen. 

Picture III 

[Description: Esther, dressed in simple robes, is shown 
clinging to Mordecai, who is gently putting her from him. 
At a little distance stands the royal messenger. In one hand 
he holds the king’s royal proclamation; with the other he 
points toward the entrance .] 

Reader: Then the king sent a decree throughout the king¬ 
dom bidding the fairest maidens of Persia appear be¬ 
fore him, and his messenger came to the house of Mor¬ 
decai. And there dwelt with him his cousin Esther, who 
was like his own child. 

Picture IV 

[Description: This scene has pantomime instead of 
tableau. Ahasuerus is shown seated upon his throne with 
his court about him. Mordecai in the background. The 
maidens pass one by one before him; Esther comes last; he 
signs for her to pause, comes to her, takes her hand, places 
her upon the throne beside him, and sets a crown upon her 
head. All kneel to pay her reverence except Mordecai, who 
stands with his face covered with his cloak.] 

Reader: From all the maidens in the land of Persia, Ahas¬ 
uerus the king chose Esther for his bride. And he 
crowned her in the sight of all the people, and made her 
his queen instead of Vashti. 


PROGRAM FOR PURIM 


131 


Picture V (a) 

[Description: Mordecai is shown seated upon the 

ground, looking quietly at Haman, who, his attendants 
grouped about him, stands in a threatening attitude .] 

Reader: And all the king’s servants bowed down to Haman, 
but Mordecai bowed not down. And when Haman saw 
that Mordecai bowed not down, then was Haman full of 
wrath. 


Picture V (b) 

[Description: Haman and several of his attendants 
are shown kneeling down before an urn from which Haman 
has drawn a lot.] 

Reader: And Haman sought to destroy not only Mordecai, 
but his people also, even the Jews. And he cast lots, 
for he wished to set a day on which to slay them. 

Picture VI 

[Description: Ahasuerus is shown seated upon his 
throne; Haman kneels before him to receive his signet ring.] 

Reader: And Haman said to the king: There is a certain 
people scattered throughout thy realm who keep not thy 
laws. Why should they live? And the king took the 
ring from his hand and gave it to Haman, saying: Do 
to this people as it seemeth good to thee. 

Picture VII 

[Description: Ahasuerus is shown lying upon his 
couch, while a scribe sits before him reading from a large 
scroll.] 

Reader: On that night could not the king sleep; and he 
commanded them to bring the Book of the Chronicles, 
and they were read to him, and he heard how that Mor¬ 
decai, whom he had forgotten, had saved him from death. 


132 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

Picture VII (a) 

[Description: Mordecai is shown pleading with Esther, 
who stands with her face hidden, weeping .] 

Reader : And Mordecai said to Esther: For this wast thou 
made queen, that thou mightest plead with the king for 
thy people and save them. But she was afraid. 

[VI and VII may he combined, as VI(a) and (£>)] 

Picture VII (b) 

[Description: Mordecai stands with his hands extended 
in gratitude to Esther. Her head is thrown hack; her whole 
attitude expresses courage and determination.] 

Reader : Then Esther said: Although it may be death for 
me to appear before the king, yet will I go before him 
and plead for my people. And if I perish, I perish. 

Picture VIII 

[Description: Ahasuerus sits upon his throne sur¬ 

rounded by his court. lie has extended his scepter, which 
Esther holds as she kneels before him.] 

Reader : But Ahasuerus the king extended his scepter to 
Esther and asked her her request. And she answered 
him: Let the king and Haman come to the banquet 
that I have prepared for them. 

Picture IX 

[Description: Ahasuerus stands looking sternly at 

Haman, who cowers before Esther.] 

Reader : And Esther said unto the king: This is the man 
who would slay my people, the Jews and slay me also. 

Picture X 

[Description: Ahasuerus is shown upon the throne 
with Esther beside him. He is giving his ring to Mordecai. 
About them stand others in festal dress.] 


PROGRAM FOR PURIM 


133 


Reader : Then Aliasuerus the king gave his ring unto Mor- 
decai and bade him protect the Jews that they should not 
die. And there was a day of rejoicing and gladness, and 
the Jews had rest from their enemies. 

[If desired, a song of rejoicing may be sung after the 
Reader’s lines.] 

DANCE OF THE PURIM JESTERS 

This dance can be given by any number of girls and 
boys, or by either girls or boys alone. However, it is much 
prettier to use an equal number of both, the little girls 
wearing short frilled skirts of red and yellow, the little boys 
the conventional jesters’ suits of red and yellow, all wearing 
the cap with bells and carrying huge Purim rattles which 
they shake throughout the dance. Dennison’s crepe paper 
may be made to suggest the costumes. 

In most cases, a search among the younger pupils will 
reveal enough dancers who have already learned a suitable 
dance in dancing school or kindergarten. Any variation of 
the familiar Jester or Teddy Bear Dance can be used. 

If it is impossible to find enough children who know 
the dance, it may be given as a solo dance by a little girl 
in appropriate costume. 

ESTHER BEFORE THE KING 

[For a girl in one of the higher classes] 

When darkest clouds o’erwhelmed our hapless race, 

And Persia’s king decreed the Jews must die, 

A star arose to comfort those who wept— 

Esther, the foster-child of Mordecai. 

Within his quiet home the maiden grew, 

The sweet-souled Myrtle, fair of form and face; 

Each year her beauty bloomed as doth a flower, 

Secluded, lovely in that lonely place. 


134 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


And when the king’s command brought to his court 
The loveliest maidens, none so fair was seen; 

Thus Esther, from her lowly Jewish home, 

Was raised to shine upon his throne—a queen. 

In the fair palace Esther dwelt a queen, 

Until there came to her the dreadful cry: 

“The Jews, thy people, perish! Save us now 
Or we through Haman’s hate must surely die.” 

Her childlike heart grew chill with dreadful fear; 

She was so young, and it seemed hard to die; 

When, “If I perish for my people’s sake, 

I perish!”—was her undismayed reply. 

• 

She stood before the king, star-bright and fair; 

He granted mercy to her troubled race; 

Haman, the hated, straight was doomed to death 
And Mordecai succeeded to his place. 

And though the weary centuries roll between, 

Still doth the memory cherish Esther brave, 

The Jewish girl who wore the Persian crown, 

And shone a Star to comfort and to save. 

—Elma Ehrlich Levinger. 


A PURIM WISH 

I’d like to be the mighty king 
Who ruled o’er Persia—with a ring 
To sign decrees for all the land, 

And none to question my command! 

I wish that I were Mordecai, 

In Persia’s court to sit so high— 

The favorite of king and queen, 

The tower on which my brethren lean! 


PROGRAM FOR PURIM 


135 


I’d even be that wicked wretch, 

Haman, the vile, who thought to stretch 
His sword o’er all our people’s host, 

And then of Israel’s downfall boast! 

I would—but then my teachers say, 

Since I’m a girl, this Purim day 
The Esther part to me must fall, 

And I can’t play a man at all! 

—Abraham Burstein. 


A PURIM HARLEQUINADE 
[For an Intermediate Pupil] 

They were old pals of a merry crew 
And toured a town around, 

A-piping tunes of merriment 
For every one they found. 

Turn trum; turn trum turn, (fingering a fiddle) 
Hi diddle, diddle doe; 

Who has no laughter in his soul 
Lives all the year in woe. 

Like pipers come from Hamlin town, 

They set all folks agog, 

Induced to join these roysterers 
In their fantastic jog. 

Turn trum turn; turn trum turn, (with fiddle) 
Hi diddle, diddle doe; 

Who cannot dance on Purim Day 
Lives all the year in woe. 

Now old and young, and rich and poor, 

All heard this quaint refrain, 

And leaning out from casement sills 
Bade them return again. 


136 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

Turn trum turn; turn trum turn, (with fiddle) 

Hi diddle, diddle doe; 

Who does not sing when men are gay 
Lives all the year in woe. 

So every March, when spring winds blow 
The northland frosts away, 

There come these troopers in its wake, 

A-hailing Purim Day. 

Turn trum turn; turn trum turn, (with fiddle) 

Hi diddle, diddle doe; 

Who is not merry Purim Day 
Lives all the year in woe. 

—Joseph Leiser. 


MAID OF PERSIA 

Maid of Persia, Myrtle named, 
For thy graces rightly famed— 
Esther, ours for evermore, 

Queen today from oldest yore— 
Ere we leave thee, let thy grace 
Linger with us for a space. 

Israel’s maidens be like thee, 
Holding fast fidelity 
To the cause of Israel, 

That they yield not to the spell 
Of the glitter and the gold 
Shining in another fold. 

Oh, our hearts are thine today 
For the dread thou did’st allay, 
For the plot of Haman foiled, 
That our race was not despoiled, 
For the worth of Mordecai 
Who the plotters did defy. 


PROGRAM FOR PURIM 


137 


Let thy spirit be our share 
Through whatever lands we fare; 

Mordecai and Esther be 
Lord and queen eternally 
In the hearts of man and maid, 

Making Israel unafraid. 

Of “the foe that stalks by night, 

Of the fowler’s luring might,” 

Of the envy and the hate 
Which all centuries relate— 

Maid of Juda, daughter dear, 

Be thy spirit ever near. 

—Harry Weiss. 


PURIM 

From Shushan’s royal palace came the edict dread and dark: 

“Exterminate Clod’s chosen race, crush out life’s vital spark.” 

This heard the youth and trembled, and the hoary head was 
bowed, 

And in sackcloth and in ashes the faithful mourned aloud. 

But lo! a maiden standeth now in royal garments dressed, 

Though on her youthful brow a crown—’tis sadness fills her 
breast; 

The king upon his royal throne beholds that maiden fair, 

The golden scepter holdeth forth, and calls Queen Esther 
there. 

“What wilt thou, oh, Queen Esther? And what is thy behest? 

Though e’en ’twere half my kingdom, it should be at thy re¬ 
quest.” 

Then gently spake the maiden, as she stands in beauty there: 

“Let the king and Haman come to-day to the banquet I pre¬ 
pare.” 



138 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


While thus with joy they feasted, and the wine cup held on 
high, 

Again the king on Esther urged to tell her thoughts—and 
why 

Upon her brow a shadow dark had cast its gloom this day, 

But with a smile, then, Esther spake, and courage found to 
say: 

“If I have pleased my lord the king, and found grace in his 
eyes, 

I beg that he will not refuse, or my request despise, 

And that once more, to-morrow, when a banquet I prepare, 

The king and Hainan shall again, with wine and song, be 
there; 

And then shall my petition before the king be laid, 

And if ’tis granted, not in vain hath Esther, fasting, prayed.” 

’Tis night! and though on royal couch Ahasuerus now lies, 

He vainly wooes the god of sleep to close his weary eyes. 

“Bring in the chronicled events,” the king now gives com¬ 
mand, 

“And thus amuse my waking thoughts with actions, as they 
stand.” 

Then heard the king how Mordecai his life from ruffians 
spared; 

“Wliat honor hath been done for this?” “Yet nothing”, they 
declared. 

Then asked the king of Haman, “What shall in reward be 
done 

To him who hath my royal grace and honor justly won?” 

And when the monarch heard, he cried, “Take Mordecai the 
Jew, 

And all the honors thou hast planned, make haste thee quick 
to do.” 

Now at the second banquet, Queen Esther makes request: 

“I ask my life from out thy hand, my people at bequest. 


PROGRAM FOR PURIM 


139 


“For we are sold! both I and they; not for bondmen o’er 
the land, 

But utterly to be destroyed, cast out, and slain, ’tis planned.” 

Then rose the king in fury: “Whose bold plan this?” he 
cried, 

“Behold him!” whispers Esther, “for ’tis Haman, at thy side.” 

“Appease mine anger, let him hang full fifty cubits high!” 

’Tis done, and messengers off speed, the Jews’ release is nigh. 

Their sorrow now to joy is turned, and long shall Esther’s 
name, 

Illumined shine in Israel’s heart with faith’s undying fame. 

—Myrtilla E. Mitchell. 


ABOUT PURIM 

I love this merry Purim time, 

I know the story, too, 

And if you don’t mind listening 
J’ll tell it all to you. 

Well, many, many years ago, 

In Persia, far away, 

The King Ahasuerus lived 
And ruled with royal sway. 

There was a lovely Jewish maid, 
And Esther was her name; 

The king soon chose her for his wife, 
So queen she then became. 

Her cousin’s name was Mordecai, 

A good and pious Jew, 

Who loved Queen Esther very much 
And to the king was true. 


140 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


Now Haman, the king’s favorite, 

A very wicked man— 

Just wanted to kill all the Jews 
And formed a cruel plan. 

But Mordecai let Esther know; 

At once she told the king, 

Who, when he heard the wicked plot, 

Was mad as anything. 

“Oh, no, the Jews shall all be saved,” 

Ahasuerus said; 

And Haman and his Avicked sons 
Were hanged till they were dead. 

—Miriam Myers. 


HADASSAH 

I love to think of Esther, 

A simple Jewish maid, 

When in her uncle’s home she lived 
And happily obeyed. 

Before she thought of Shushan, 

Its splendor and its gloom, 

Or dreamed her deed of faith might save 
Her people from its doom. 

Her mind then had the SAveetness, 

Her heart the courage high, 

That later bade her say, “I go, 

And if 1 die, I die.” 


—Jessie E. Sampter. 


PROGRAM FOR PURIM 


141 


Model Program for Purim 

II 

[To be given chiefly by the Senior Pupils] 


1. Song, “En Kelohenu” . Entire School 

2. Prologue, “The Jolly Jester” . Intermediate Pupil 

3. Song, Hymn 126, Moses Hymnal. Entire School 

4. A Legend for Purim. Senior Pupil 

5. Song, Hymn 128, Moses Hymnal. Entire School 

6. Recitation, “Esther Today” . Senior Girl 

7. Violin Solo . Senior Pupil 

8. Play, “Star of Judah” . Senior Pupils 

(With or without Tableaux) 

9. Song, “Star-Spangled Banner” . Entire School 


VARIATIONS 

For the Prologue, No. 2, it is possible to substitute the Prologue by 
Abraham Burstein (page 143), or “Good Purim” (page 144); for “A Legend 
of Purim” it may be found advisable to have an older pupil write a brief 
synopsis of the Purim story. 

The message of No. 6, is contained in “Purim” (page 147), or “A Purim 
Retrospect” (page 148) may be used. 

No. 7 may be omitted for want of time, or slipped in between the acts. 
Be sure you pick out a good performer; this matter is often left to chance, 
and a well-me ning beginner does his share to bore and annoy the audience. 











142 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

PROLOGUE TO PURIM ENTERTAINMENT 
[To be spoken by boy in clown costume before the curtain ] 

The Jolly Jester 

David, David, come and see 
What my mother made for me; 

Funny suit of red and green, 

Funniest hat you’ve ever seen! 

Won’t I be the queerest sight 
When I sing tomorrow night: 

“Heint is Purim, morgen is ois, 

Git mir a groshen, and varft mir arois.”* 

I shall be a jolly jester; 

Sister Ruth will dress as Esther; 

Mother’s skirt and cloak she’ll wear 
And shining things upon her hair; 

Sam is Hainan, and his nose 
Will be a mile long, I suppose. 

Come and mask on Purim night! 

We will help to dress you right. 

You can be a Persian king— 

Soldier, slave, or anything; 

Buy a mask and come along, 

And help us sing our Purim song: 

“Heint is Purim, morgen is ois, 

Git mir a groshen, and varft mir arois.”* 

* Actors behind the curtains repeat the old song. If desired , 
the following free translation may be substituted — 

“Today is Purim, tomorrow it’s o’er; 

So give me a penny—then push through the door!” 


—Elma Ehrlich Levinger. 


PROGRAM FOR PURIM 


143 


A PROLOGUE 

For a Purim Play or Pantomime 

When Purim’s happy day is here 
We children always feel so queer! 

We want to play and romp and run 
From early morn to setting sun. 

In every nook and ledge we snoop 
To seek enjoyment for our troop. 

But now at last we’ve found the best 
Of fun for you—I’m sure you’ve guessed 
It long ago—we’re going to play 
The happy Purim play today. 

And Esther will be queen once more— 

A queen, I’m sure, you’ll all adore! 

And Vashti, Haman, Mordecai, 

And all the rest will pass you by. 

To show that God is ever there 
To help Ilis people in despair. 

And if you’re quiet as a mouse, 

And not a sound disturbs the house, 

The actors will appear, and do 
Their best to cheer and liven you! 

—Abraham Burstein. 

[This has been found to be an excellent Prologue for the 
Shadow Pantomime of Esther.] 



144 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


GOOD PURIM! GOOD PURIM! 

Purim is here now at last, and again comes the wonderful 
day, 

Bringing us memories we cherish, and bidding all cares pass 
away! 

Purim has come as a jov-dav, to fill us with thoughts of 
great deeds, 

Telling of victories triumphant they won without bloodshed 
or war, 

Showing how noble the heroes—how great is the God we 
adore! 

Purim’s reign is here again; everything today 

Strives to shine with the joy divine, seeming now to say,— 

“Good Purim! Good Purim! Happy day of gladness! 

Good Purim! Good Purim! Drive away all sadness! 

Once a year, filled with cheer, Purim’s here— 

0 welcome, gladsome Purim! 

On high, aloft, let’s raise our voices, 

The sky smiles soft when youth rejoices, 

0 welcome, gladsome Purim! 

Good Purim! Good Purim! Happy day of gladness! 

Good Purim! Good Purim! Drive away all sadness!” 

—Samuel S. Grossman. 

A LEGEND FOR PURIM 
[To be recited by one of the older pupils ] 

The Jews of Shushan were doomed to die, and now they 
sat in the synagogue and along the roads dressed in sack¬ 
cloth and mourning. For the fear of Haman was great in 
the land and he was very powerful. The little children 
feared him also, for of all the Jews of Shushan doomed to 
die through Hainan’s hate, Haman hated the little children 


I 


PROGRAM FOR PURIM 145 

most, since he feared that God would hear their crying and 
spare the Jews. 

And he said: “Tomorrow I will hang Mordecai and kill 
all the Jewish children in the empire from Hodu unto Kish.” 

And the little Jewish children gathered in the school, 
and tears ran down their white cheeks like rain, and they 
were weak and fasting, for they had eaten nothing all day. 
From early morning they sat weeping in the school, tasting 
no food and praying for help. 

Their mothers gathered at the doors and cried to their 
children: “Here is bread; here is water. Eat and drink, 
little ones, for why should you suffer from hunger on your 
last day on earth?” 

But the children answered their mothers: “We will 
taste no food today, even though God—may His name be 
blessed—deliver us unto death tomorrow.” For they longed 
to fast like their elders. 

And the mothers stood at the doors wailing and weeping, 
and the little children wept within. Their weak voices rose 
higher and higher, until the sobs and prayers of the little 
Jewish children reached the ears of God Himself as He sat 
on the judgment seat with His angels around Him. And 
their cries were in His ears as the bleating of the young 
lambs before they go to the slaughter. 

God said: “I hear their crying.” And God arose from 
the seat of judgment and seated Himself upon the seat of 
Mercy. And He tore in two pieces the scroll on which the 
doom of the Jews was inscribed, for God said: “I am pitiful 
for the little Jewish children and their prayers alone have 
moved me. They must not die.” 

—Adapted by Elma Ehrlich Levinger. 


146 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


ESTHER TODAY 
[A recitation for an older girl ] 

You have all heard the story of Esther, 

Who pled for the Jews long ago; 

Who rescued our race from destruction, 

Who delivered our brethren from woe. 

Do you think when you read of her courage, 

So great for a girl to display, 

And her simple, unfaltering devotion, 

That an Esther is needed today*? 

We need women, real mothers in Israel, 

Who love their faith dearer than life, 

Who will teach Israel’s faith to their daughters, 

And arm worthy sons for the strife. 

For enemies, deadly as Hainan, 

Are still eager our people to slay; 

And to battle with falsehood and error 
An Esther is needed today. 

Let us then do our duty as she did, 

Trusting God to the last—unafraid; 

Let us never be traitors or cowards, 

When our people beseech us for aid; 

Forget not that He knows His people; 

That He will protect us alway— 

And remember to fight for Him gladly 
If Esther is needed today. 

—Elma Ehrlich Levinger. 


PROGRAM FOR PURIM 


147 


PURIM 

Come, quaff the brimming festal glass! 

Bring forth the old good cheer! 

For Esther’s Feast has come at last— 

Most gladsome in the year. 

And now, when hearts beat glad and free, 

Come, gather all about, 

And tell once more how, long since, He 
Did put our foe to rout. 

Full oft has beauty ruled a land 
And held its sceptered sway; 

Full often foiled the avenging hand 
And bade oppression stay. 

But ne’er did beauty so avail 
As when fair Esther’s charm 

’Gainst vengeful Hainan did prevail 
To ’fend the Jews from harm. 

So all the dire impending woe 
That hovered o’er their head, 

Did light upon their ruthless foe 
And ruined him, instead. 

And thus, through all the ages long, 

In everv land and clime, 

They chant an old thanksgiving song, 

E’er mindful of that time. 

Yet, Israel’s Guardian never sleeps— 

No slumber to His eye! 

But loving watch He ever keeps 
Upon His flock from high. 

— C. David Matt. 


* 


148 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


A PURIM RETROSPECT 

Come, tell us the story again 

You told us when we were young, 

Of Esther, the great Jewish queen, 

And Haman—the one they hung; 

And how the tables were turned, 

And Mordecai came to be great, 

How he won the respect of the king, 

Though sprung from low estate. 

We clustered around the broad table 
On which all the dainties were spread, 

And the rays seemed as soft as moonbeams 
From the seven-star lamp overhead; 

And we seemed once more to be children, 
Agiowing with youthful glee, 

The youngest—a baby of twenty— 

Perched up on his mother’s knee. 

Well, father read out the Megillah, 

We knew it all through and through, 
Though it’s wonderful how, in that small book, 
One always finds something that’s new; 

So we wept again where Esther 
Risked her own life to see the king. 

And cried “Bravo” when Haman was ordered 
Upon his own gallows to swing. 

But when we came to the hero 

(Who used to sit out by the gate), 

Led all over Shushan by Haman, 

And robed in the king’s own state, 

We clapped our hands for wonder— 

How strangely things came about— 

And thought we could hear the thunder 
That echoed the people’s shout. 


PROGRAM FOR PURIM 


149 


And then the ten sons of Hainan, 

And those that rejoiced at the news— 

That ranged on the side of the wicked 
And perished instead of the Jews— 

We thought how God in His wisdom 
His breath to each creature doth give, 

And yet how He blots out millions 
That millions of others may live. 

Our reading and feasting had ended, 

And father looked wiselv at all. 

And told us the lesson extended, 

That Esther’s brave life did recall: 

“The path of the righteous is ever 
God’s vigilant care and cause, 

And honesty, virtue and justice 
Are heaven’s immutable laws. 

“The lowlv shall rise from their thraldom, 

And sit on the kingly throne, 

And God, in His infinite mercy, 

Will gather them for His own; 

While those who sit in high places, 

And mingle not justice with power, 

Shall merit the wrath of the Almighty 
And perish from that dread hour. 

“The outward has nothing to boast of, 

Nor figure, nor color of skin; 

The image of God implanted— 

Engraved in the heart within; 

The gift to rule self is to each one, 

To rule over many—to few; 

But a single brave heart may work wonders 
If only that one heart be true.” 

— W. S. Howard. 

[This recitation may be divided among several little 
girls as a dialogue, each taking a number of stanzas . ] 


150 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


Model Program for Purim 

III 

[For the Primary, Intermediate and Senior Divisions ] 

1. Children’s Service. Entire School 

2. Purim Pageant. Entire School 

[Either alone or in co-operation with other Sabbath Schools ] 

As explained in the foreword to the Purim Pageant, 
page 409, it can be given successfully with only seventy-five 
children; for this reason it should make an ideal entertain¬ 
ment if it seems best to have all the pupils participate. The 
children’s service, abbreviated if necessary, should open the 
program. While the actors, already in costume, are as¬ 
sembled in the dressing-room for the last directions, supervi¬ 
sion of properties, etc., a very short musical program may be 
rendered by the Choral Society or the Alumni. Then the 
pageant follows, which, even in a shortened form, should be 
sufficient to fill out a well-rounded program. If the pageant 
is given on a larger scale, with a number of schools cooper¬ 
ating, the short service should be given by the children not 
participating in the entertainment and the adults in the 
audience; meanwhile the actors are being costumed ready to 
begin the spectacle promptly. There should be no extra 
numbers, and the opening addresses should be cut down as 
much as possible, for the pageant is a lengthy affair, and 
enough time should be allowed for its proper presentation. 




PROGRAM FOR PURIM 


151 


PURIM GAMES FOR CHILDREN 

By Harold F. Reinhart, Baton Rouge, La. 

FINDING ESTHER’S CROWN 

The children stand in an open circle with their hands be¬ 
hind them. One child (the king) stands in the middle. One 
of the children in the ring holds the “crown of Esther” be¬ 
hind him. It is the task for the one in the center to get that 
crown, by guessing which child has it and asking the correct 
questions. When “the king” is not looking the children may 
pass the crown from one to another. When “the king” suc¬ 
ceeds in getting the crown, the one who had to give it up 
becomes the “king”, and the game proceeds from the begin¬ 
ning. 

The children must, of course, pretend to pass when they 
really do not have the crown, so as to bewilder the “king”. 
The crown must be small enough to hold in the closed fist. 
During the game the following is sung: 

All sing — 

Oh, Esther’s crown, 

Oh, Esther’s crown, 

Oh, Esther’s crown is lost. 

King asks one child — 

Oh, have you seen, 

Oh, have you seen, 

Queen Esther’s crown today? 

Child replies — 

Oh, yes, my king, 

Oh, yes, my king, 

I saw it while at play. 

King asks the same child — 

Oh, can you tell, 

Oh, can you tell, 

Me where that crown did go? 



152 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

Child replies (if he does not have the crown )— 

Oh, no, my king, 

Oh, no, my king, 

I reallv do not know! 

«/ 

(Child reciting this must then bring hands in front of 
him and show that they are empty.) 

Then the king asks his questions again of another child, 
and it continues till he asks the child who does hold the 
crown. The child replies in the same way to the first ques¬ 
tion, but the second must answer: 

Oh, yes, my king, 

Oh, yes, my king, 

Just look and I will show! 


MORDECAI THE JEW 

The game is similar to the familiar “Farmer in the Dell”. 
The children form a circle, joining hands, and move round 
one child in the center, who is Mordecai, all singing as they 
go. While they sing the second verse, “Mordecai” speaks to 
“Esther”, calling her into the circle beside him. While the 
fourth verse is sung, “Esther” calls in “Ahasuerus”. While 
the sixth verse is sung, “Ahasuerus” calls in “Haman”. 
While the eighth verse is sung, all the children return to 
their original places in the ring; a new Mordecai is chosen 
and the game starts again. 


I. 

Oh, Mordecai, the Jew, 
Oh, Mordecai, the Jew, 
So brave and true, 
And loyal, too, 

Oh, Mordecai, the Jew. 


PROGRAM FOR PURIM 


153 


II. 

He speaks to Esther fair, 
He speaks to Esther fair, 
He sends her in 
To see the king, 

He speaks to Esther fair. 

III. 

Oh, Esther is the queen, 
Oh, Esther is the queen, 
Oh, Esther fair, 

Beyond compare, 

Oh, Esther is the queen. 

IV. 

She goes before the king, 
She goes before the king, 
She says: I crave, 

My life you save, 

She goes before the king. 

V. 

A—has—u—erus, king, 

A—has—u—erus, king, 
The king so great, 

In all his state, 

A—has—u—erus, king. 

VI. 

The king calls Haman in, 
The king calls Haman in, 
He cries: You die 
On gallows high, 

The king calls Haman in. 







154 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

VII. 

Oh, Haman bold and bad, 

Oh, Haman bold and bad, 

For he did choose 
To kill the Jews, 

Oh, Haman bold and bad. 

VIII. 

Now Haman is no more, 

Now Haman is no more, 

For Esther brave 
The Jews did save, 

Now Haman is no more. 


THE TEN SONS OF HAMAN 

Ten pins have faces painted on them and are dressed up 
to look like the ten sons of Haman. The names of the ten 
sons may be printed on them if desired: Parshandatha, 
Dalphon, Aspatha, Poratha, Adalia, Aridatha, Parmashta, 
Arisai, Aridai, Vaizatha. 

The men are set up as ordinary ten pins, and the chil¬ 
dren take turns rolling the ball to see who can knock the 
most down. 


CROWNING QUEEN ESTHER 

A large picture of Queen Esther is pinned against the 
wall. The crown (painted on a card) is given to a blind¬ 
folded child who is told to put it on Esther’s head. Each 
child is blindfolded and tries in turn to see who can come 
nearest to placing the crown in the right place. 


PROGRAM FOR PURIM 


155 


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156 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


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PASSOVER 








Passover in the Class-Room 


P ERHAPS bo Jewish holiday is more grateful to 
the child mind than Passover. Its story is dra¬ 
matic and colorful and easy to understand; its cere¬ 
monialism is attractive; art, music and legend all do 
their part to enrich the ancient festival with the po¬ 
tent appeal of poetry. And because of this very 
wealth of material the teacher must be on her guard 
to choose only the elements which will appeal to the 
children of her grade, rather omitting some phases of 
the Passover story than confusing her pupils with too 
many points. The same holds equally true of the 
Passover entertainment. Far better a short, unified 
program, presenting only one or two concrete ideas 
to the children, than a jumbled collection of unrelated 
facts. 

Of course, the corner-stone of all class-room cele¬ 
bration must be the story. For the Primary Division, 
it is sufficient to give the historical phase very briefly, 
touching first on the nature aspect of the holiday. 
This will be especially easy if Passover comes late 
enough for the children even in our northern Sabbath 
Schools to know it as a spring holiday. In any case, 
let the teacher bring some spring flowers or pussy¬ 
willows to class, place them on her desk, and, after 
an opening song expressive of the spring-time (such 
as “Behold, it is the Spring-time of the Year”, Union 
Hymnal 162), she should be ready to begin something 
in this manner: 


161 


162 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

Children, have you noticed how the blades of grass 
are pushing out of the dark ground where they have 
been sleeping all winter? Or how the baby leaves 
are just tumbling out of their little brown cradles? 
And in the park the other day I saw two bold red 
tulips and several dandelions. They all seemed to be 
so glad that the winter was over at last and they 
could come out and enjoy the spring. 

In the open country the fields are all getting green 
and the violets are springing up and the pussy¬ 
willows are opening along the brooks. They are all 
glad to be free after the long, cold winter. The 
farmers are glad, too, for now they can go out of 
doors and begin to work in the beautiful fields. When 
they come out of their houses in the early morning 
and listen to the birds singing, and see the dew spark¬ 
ling on the young, fresh grass, I think a great many 
of them, if they could, would have some celebration 
just to show how glad they are to welcome spring 
back to the earth. 

In the olden days the Jewish people were all farm¬ 
ers, you know, and they were always very glad to 
greet the spring, which came just around Passover. 
They had a beautiful festival, and danced and made 
merry; and from all parts of Palestine they came to 
Jerusalem, bringing offering to the great, beautiful 
Temple there, to show God how happy they were to 
greet the spring. 

There was another reason why the Jewish people 
kept Passover and why we Jews still keep it today. It 
was not only to welcome the coming of spring, but to . 


PASSOVER IN THE CLASS-ROOM 


163 


celebrate the birthday of the Jewish people, their 
Fourth of July, the day they became a free people. 

[Here the teacher will introduce the historical element, 
dwelling chiefly on the one figure in the whole story which 
will appeal to the mind and heart of the young child—the 
tale of the child Moses. The author has found the following 
very easy for young children to follow. The language may 
become more difficult, and more incidents may be introduced 
for older pupils ] : 

I want to tell you how the Jewish people came to 
be free. For a while they were living in Egypt, and 
the king, or Pharaoh, as they called him, treated them 
very cruelly. He made them slaves and gave them lit¬ 
tle to eat or drink, and forced them to work all day 
long in his brick-yards building him great monuments 
which seemed to reach the sky. 

But this was not the most cruel thing he did. He 
was afraid that some day the Jewish people would get 
tired of being ill-treated and would try to fight him. 
He was not afraid of the tired men working in his 
brick-yards, for they would soon be too worn-out and 
old to fight anybody. But he feared some day the 
little boys would grow up and form a powerful army 
against him. So he gave a dreadful order to all the 
Jewish people. 

He commanded every Jewish mother to kill her 
boy baby as soon as he was born. You see, he was not 
afraid of the girl babies, for he thought they would 
grow up weak women, who could not fight, but would 
be willing to work for him. Just think how very sad 
the poor mothers must have felt to lose their little 
babies. 


164 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

But there was one woman, one Jewish mother, who 
would not obey the commands of the cruel Pharaoh. 
She kept her little boy baby hidden in her house as 
long as she dared. Then when she was afraid that 
Pharaoh’s bad soldiers would hear the baby crying 
and take him awrny from her, she made him a little 
basket of rushes and wrapped the little boy in a soft 
cloth and put him in the basket. Then she set the 
basket afloat on the river Nile, and told the boy’s sis¬ 
ter Miriam to hide in the rushes along the river to 
watch what happened. 

In a little while the beautiful princess, the daugh¬ 
ter of Pharaoh, came down to bathe in the river. She 
saw the basket floating along the stream, and she sent 
one of her servants to wade into the water that she 
might draw it out. And the servant brought the bas¬ 
ket to the princess, who lifted the cloth and saw a 
beautiful baby boy sleeping beneath it. 

The princess was not at all like her cruel father; 
she had a kind heart, and as soon as she saw the baby 
she said: “This must be one of those poor children 
that my father has ordered to be slain. I will take 
care of him and bring him up as my own child. I wish 
I could find a Jewish mother to be a nurse to him.” 

Then Miriam, the baby’s sister, who had been lis¬ 
tening to every word the princess had said, bowed be¬ 
fore her and said: “I will bring you a Jewish woman 
to nurse him. ” And she hurried away, and whom do 
you suppose she brought—yes, the baby’s own mother. 
She was very glad to get her baby again, and prom¬ 
ised the princess to take the best of care of him. And 
the princess called him “Moses”, and when he grew 


PASSOVER IN THE CLASS-ROOM 


165 


older she had him live in her own house and brought 
him up like her own son. 

This is how God saved the baby Moses. When 
Moses grew up he became a strong, brave man, and 
did all he could for the Jewish people. He led them 
out of Egypt, where they had been slaves for so many 
3 ^ears, and made them free, and taught them to love 
God and obey Him. And because Moses led them out 
of Egypt on Passover we always remember him on 
this day when he helped the Jewish people to become 
free. 

For the Intermediate Division the story becomes 
less concerned with the nature aspects of the holiday 
and emphasizes the historical side. But the teacher 
should dwell for a moment on the fact that, like the 
two other great national holidays of ancient Israel, 
Succoth and Shabuoth, Passover is also an agricul¬ 
tural holiday. For the pupil must not be allowed to 
forget that the Jew was first of all a pastoral people, 
and, if the subject is treated properly, the primitive 
in him will welcome stories of the merriment at the 
sheep-shearing descriptions of the harvest festivals of 
his ancestors. 

From the simpler agricultural festivals, take the 
pupil to the elaborate pilgrimages in the days of the 
kings. Speak of the religious revivals in the days of 
Hezekiah and Josiah, describing how from every part 
of Israel pilgrims gathered to eat of the sacrificial 
Pascal Lamb in the shadows of Jerusalem. 

It will be easy to introduce the story of the Ex¬ 
odus by telling the class that, like the other Jewish 
agricultural festivals, Passover has its historical as 


166 JEWISH FESTIVALS IN THE KELIGIOUS SCHOOL 

well as its nature origin. Just as this spring feast 
celebrates the revival of life in all living things, it 
also commemorates the birth of life in an entire peo¬ 
ple. For Passover is really the Fourth of July of the 
Jewish people. 

The story of the Exodus should follow, adapted to 
the grade and the historical background of the pupils. 
Children of the Intermediate Department are of the 
hero-loving age, and, although the teacher should not 
forget to emphasize that it was God Himself who 
saved His people, still she will do well to dwell upon 
the heroic figures which crowd the canvas of the Pass- 
over story: Moses, humble and fearless; Aaron, eager 
to serve; Miriam, whose dance beside the sea still 
glows with poetic light through the centuries. Not 
only the Bible, but legendary material can be drawn 
upon: Ginzberg’s translation of the best-known Jew¬ 
ish legends is rich in stories such as children love— 
Moses’ kindliness to the lost lamb, Pharaoh’s test 
when he mistrusted the child who had snatched at his 
crown, the last meeting between Pharaoh and Moses. 
These are rich in color, and so quaint that they cap¬ 
ture and hold the imagination of the child, giving a 
certain humanity to the distant, sometimes too heroic, 
figures. 

In telling the story of the Exodus, the teacher 
should dwell longest upon the story of the first Seder. 
Draw at great length the picture of the tribe of once- 
frightened slaves, now strong in hope, as girded for 
their journey, with their staves in hands, they gath¬ 
ered about their tables to eat the paschal lamb. Re¬ 
peat the command of Moses—that this feast is to be- 


PASSOVER IN THE CLASS-ROOM 


167 


come an institution in Israel for all time, and that 
fathers should tell their sons each year the meaning 
of the Passover feast. 

From this it is an easy transition to the Seder of 
today. In the Intermediate Division the ceremonial 
aspect of each holiday should be more emphasized 
than any other feature, for at this age the child will 
take a lively interest in all he sees about him and 
“seeks to learn the meaning of these things’’. Those 
who instituted the Seder were wise in the principles 
of modern pedagogy, with its insistence that the child 
learns by doing. Nothing can take the place of the 
Seder in the child’s own home, with a thoughtful pa¬ 
rent explaining the various symbols of the feast. But 
since the Seder is often absent from the home—even a 
home Jewish enough to send the child to a Sabbath 
School—the Sabbath School must do its best to give 
the child something of the thrill and joy of the Pass- 
over season. 

In one of the programs prepared for this holiday 
the author has endeavored to present a reverent treat¬ 
ment of the Seder service, in which a few children, at 
least, can participate, and the audience learn far more 
clearly than from pictures or text-book what the Seder 
and its symbols really mean. Such a number will be 
particularly effective if no Seder is given for the con¬ 
gregation or Sabbath School. But if no public Seder 
of any kind is given, the teacher should at least bring 
the symbols of the feast to the class-room, questioning 
the children who have seen a Seder concerning them, 
and when necessary, adding her own comments. Let 
it be clearly understood that the author does not in 


168 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

any sense hold that such substitutes can compare with 
actual participation in the service; but, having met 
more than one product of our Sabbath Schools who 
was utterly ignorant of the simplest features of the 
Passover celebration, she believes that even such 
pseudo-participation as she has suggested will not be 
entirely in vain. 

In some schools, where the classes are not too 
large, it is often possible for the energetic teachers 
of the Intermediate Division to arrange a simple Seder 
either for the whole school or for the pupils who have 
made an intensive study of the service. This will be 
especially good if no other “get-together” party has 
been given for the parents during the year. It should 
not be necessary to warn those who plan such a Seder 
that too elaborate preparations, especially for the 
meal, are likely to weary those responsible for the 
affair and make them hesitate to repeat it. Better a 
very simple meal year after year than an elaborate 
banquet, which will prove so expensive and laborious 
that no one will have the courage to repeat it. If pos¬ 
sible, the service should be cut down to meet the needs 
of the younger pupils, and the supper should be fol¬ 
lowed by a simple program consisting of some of the 
suggested numbers given below. 

In treating the Passover story for the Senior Divi¬ 
sion, it is a good thing to mention at least the spring 
festivals of other people. Nearly all children of this 
age know the touching story of Persephone’s return 
to the Earth Mother, Demeter; from this the teacher 
may turn to the festivals of the early Saxon peoples 
in honor of their goddess of spring, whose name still 


PASSOVER IN THE CLASS-ROOM 


169 


survives in the spring festival of Resurrection which 
the Christian world calls Easter. It may be well to 
note certain obvious similarities, such as the use of 
the Easter egg, the sign of new life, and the egg upon 
the Seder table. 

Here the teacher or one of the older pupils may 
recite bits of glorious poetry from the Song of Songs, 
which the children learn is always read in the syna¬ 
gogue during the Passover season. The bits descrip¬ 
tive of the return of spring are best, such as the 
famous passage (2:11-12), while the poem,, “Pass- 
over” (Deborah Kleinert Janowitz), found on page 
180, draws a good analogy between the birth of a new 
season and the birth of a nation. 

When telling the story of the Exodus, the teacher 
must be careful not to repeat at length the more ob¬ 
vious details which the child should have learned dur¬ 
ing its first years at the Sabbath School. For exam¬ 
ple, there is no excuse for dwelling upon the finding 
of Moses and the somewhat doubtful episode of the 
slaying of the Egyptian taskmaster to such a length 
that all ethical inferences must be slurred or omitted 
altogether for lack of time. This does not mean that 
there should be any direct moralizing, but it seems a 
great pity to miss the opportunity of using the Pass- 
over tale to drive home a lesson so powerfully appeal¬ 
ing to generous-hearted and idealistic adolescents. 

“God took the children of Israel out of Egypt and 
set them free to make them His slaves”, says Victor 
Hugo. To put it less cynically, to help the child to 
grasp the lesson that freedom for the Jew meant con¬ 
secrated labor for all humanity, is to draw at least one 


170 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

obvious moral from the Passover narrative. It is not 
of much moment that the confirmand remembers the 
name of the particular Pharaoh who persecuted the 
Israelites or the course of their journey through the 
wilderness; but if (as Dr. Kohler puts it) the child is 
taught to feel his obligation “to do what is in our 
power to offer relief to the oppressed and help to the 
unprotected/’ the time spent in studying the Exodus 
will not be wasted. If the story of Egyptian slavery 
leads the descendants of these persecuted slaves to 
hate all slavery and persecution, the tale of Pharaoh’s 
court will not be without its ethical influences. But 
to do this the teacher must be filled to overflowing 
with her narrative; an instructor wondering vaguely 
what comes next in her story will not be able to do 
any more than give her pupils the dry bones of his¬ 
tory. 

If time permits, it is always a good thing to speak 
of Passover in the Middle Ages. Extracts from a 
masterpiece like Heine’s “Rabbi of Bacharach” are 
worth hours of uninspired descriptions of Passover 
rites or medieval persecutions. They bring up stories 
of the blood accusation which may be of interest to 
more advanced pupils. Above all, draw upon the rich 
treasure-house of poetry and art, and make of your 
information not a lesson but an inspiration to the 
class. 

The story over in the Primary Division, there is 
plenty of opportunity for class-room dramatization. 
The finding of Moses can be played by very young 
children, a large doll serving for the baby. The writer 
knows through experience how fascinating this story 


PASSOVER IN THE CLASS-ROOM 


171 


is to young children after observing her own little 
ones of two and three playing it with a favorite doll, 
who forever after bore the appropriate name of Moses. 
For handwork the children may do their usual color¬ 
ing or sewing of pictures, and they will surely enjoy 
making paper baskets to represent the tiny ark which 
Jochebed floated upon the Nile. Again the sand- 
table will prove a boon to show the scene by the 
river, with dolls dressed in class (tissue paper is ex¬ 
cellent for this) representing the princess, her attend¬ 
ants and the other characters in the story. For some¬ 
what older children, with nimbler fingers, it is a great 
joy to cut out and fold the various symbols of the 
Seder table. These can be purchased from Bloch Pub¬ 
lishing Company, and the children are always eager 
to take them home to show just what they have 
learned in Sabbath School. 

If the Intermediate or Senior Divisions are for¬ 
tunate enough to have a “Junior Sisterhood’’ or Sew¬ 
ing Circle, the young girls may be taught to embroider 
linen clothes to cover the matzah ; these may be done 
with Hebrew lettering or appropriate symbols. They 
will also be able to prepare attractive invitations for 
a Seder or posters to announce a program, lettering 
either of the quotations given below. The scrap-books 
started at Succoth should receive special attention, 
and should be enriched with verse and stories (orig¬ 
inal, whenever possible) and drawings which embody 
the symbolism of the holiday. 

The subject of class parties has already been 
touched upon. If no formal program is given, the 
program following the public Seder must be as sug- 


172 JEWISH FESTIVALS IN THE. RELIGIOUS SCHOOL 

gestive as possible of Passover, but it must not be too 
long. The Chad Gadya tableau for the little ones, a 
recitation, an essay or story, and several songs by the 
classes, should be sufficient. 

The following stories will be of great assistance 
to the teacher in giving the children a richer back¬ 
ground for the holiday. Many of them will be excel¬ 
lent for class-room use, others will be used chiefly for 
reference. 


STORIES ABOUT PASSOVER 


173 


Stories about Passover 
For Intermediates 
Modern 

“The Luck of the Cohens” from “A Modern Esther”. 
Emily Goldsmith Gerson (Greenstone). 

“Home Again”. Ibid. 

“A Real Passover” from “Jewish Holy day Stories”. 
Elma Ehrlich Levinger (Bloch). 

“A Tale of the Passover” from “ Festival Stories”. 
Hannah Trager (Dutton). 

Biblical 

“Playmates in Egypt” from “Playmates in Egypt”. 
Elma Ehrlich Levinger (Jew. Pub. Soc.). 

“The Breakfast of the Birds” from “The Breakfast 
of the Birds”. Jehudah Steinberg (Jew. Pub. Soc.). 

For Seniors 
Modern 

“Elijah's Goblet” from “Ghetto Comedies”. Israel 
Zangwill (MacMillan.) 

“Elijah the Prophet”. Sholom Aleichem (trans. by 
Berman ), from “Apples and Honey”. (Bloch.) 

“How Shimmele Became a Sceptic” from “Idylls of 
the Gass”. Martha Wolfenstein (Jew. Pub. Soc.). 

“The Passover Guest” from “ Yiddish Tales”. Sholom 
Aleichem (trans. by Frank.) (Jew. Pub. Soc.). 

“Rabbi of Bacharach”. Heinrich Heine. 

“The Unwelcome Guest” from “In Many Lands”. 
Elma Ehrlich Levinger (Bloch). 


174 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


References for Highest Grades and Teachers 

Bible: Exodus, chap. 1-15 (special emphasis on 12 
and 13). 

Jewish Encyclopedia: Passover and related subjects. 

History of the Jews. Graetz (vol. 1, ch. 1). 

Festival Studies. Israel Abrahams (Greenstone). 
Chap. 1, 7, 15, 23. 

Legends of the Jews. Louis Ginzberg (Jew. Pub. 
Soc.). Vol. II and III. Consult Index. 

Judaism as Creed and Life. Morris Joseph (MacMil¬ 
lan). Book II, chap. 4. 

Guide for Instruction in Judaism. Dr. K. Kohler 

(Cowen). Chap. 4, page 114. 

“In Many Lands.” Elma Ehrlich Levinger (Bloch). 
Pages 79-80. 


THE PASSOVER PROGRAM 


175 


The Passover Program 

As has been mentioned in the previous holidays, 
Passover should not be celebrated by an elaborate 
program if a large entertainment has been given on 
Purim. In many cases the congregation will prefer 
a public Seder at which the program suggested above 
will be found suitable. However, if there is no public 
Seder, a program should be given for the parents and 
pupils, either at an informal party or as a formal 
program in the school’s auditorium. 

The programs which follow will be seen to follow 
as closely as possible the idea of grading. In one the 
ceremonial aspect of the holiday predominates; in the 
other, the historical. These programs may be short¬ 
ened if desired, or substitutions may be made from the 
anthologies which accompany them. But under no 
circumstances should they be made longer, while all 
substitutions should be chosen carefully, so as not to 
conflict with the central idea of the program. 

The following quotations will prove suitable for 
programs or placards announcing the program: 

For lo, the winter is past, 

The rain is over and gone; 

The flowers appear on the earth; 

The time of the singing of birds is come. 

—Song of Songs. 



176 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

An ancient people celebrates its birth 
To freedom, with a reverential mirth, 

With customs quaint and many a hoary rite, 
Waiting until, its tarnished glories bright, 

Its God shall be the God of all the earth. 

—Israel Zangwill. 

’Tis the Passover of reviving earth, 

The longed-for resurrection of its charms, 

Each peeping bud a type of Freedom’s birth— 

A conquest each o’er winter’s dread alarms. 

—Deborah Kleinert Janowitz. 





PLAYS FOR PASSOVER 


177 


Plays for Passover 

Intermediate and Senior Divisions. Modern 

“The Silver Cup ”. Elma Ehrlich Levinger. Published with 
this volume, 

for which may he substituted 

“The Passover Guest”, six boys, two girls; a three-act play 
for older pupils, showing how Elijah, in the guise of a 
passing stranger, introduces the Seder—and much be¬ 
side—into a modern home. Elma Ehrlich Levinger. 
(Young Judea.) 

“Gift of Elijah ”, seven boys, seven girls; a very simple play¬ 
let in two scenes, one showing some of the preparations 
for the Seder, the other the familv about the table. 
Elma Ehrlich Levinger. (Young Judea.) 

“The Trial of Passover” , ten boys or ten girls; a simple 
playlet in one scene, suitable for Intermediates at an in¬ 
formal entertainment. Meir Isaacs. (Young Judea.) 

“The Crumb Conspiracy ”, 1 twelve boys or twelve girls; a 
“Seder humoresque in rhyme”, in which the objects of 
the Seder table assume life and bring a fugitive crumb 
to trial; suitable for children thoroughly familiar with 
Seder observances. Samuel S. Grossman. (Young 
Judea.) 

“The Matzoh Shalot”, four boys two girls; a one-act sketch 
telling how good fortune came to a poor family on 
Passover eve; easy for Intermediates to produce. Emily 
Goldsmith Gerson. (Bloch.) 

1 Another fantastic Passover dialogue by the same author, “The Glad 

Maker,” is suitable for very young children and can be procured from Young 

Judea, N. Y. C. 




178 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

“To Save His Country ”, six boys, four girls; a one-act play 
for Intermediates or Seniors, which would act better 
with some judicious cutting; a good picture of the Seder 
of a French family in the days of Napoleon, from “ The 
Power of Purim and Other Plays”. Irma Kraft. (Jew. 
Pub. Soc.). 

Intermediate and Senior Divisions. Historical 

“Out of Egypt”. Elma Ehrlich Levinger. Published with 
this volume, 

for which may he substituted 

“From the Waters”, five boys four girls, minor characters; 
a short play telling of the finding of Moses and why 
Pharaoh did not condemn the child to death; simple 
settings, but requires good acting, with Seniors in the 
leading roles. Elma Ehrlich Levinger. (Jewish Festival 
Book—Passover—Bureau of Jewish Education.) 1 

1 A Hebrew version, “Min Hamayim," has been prepared, a translation 
of “From the Waters,” which is appropriate for advanced Hebrew classes, 
and may be obtained from Young Judea. 



PROGRAM FOR PASSOVER 


179 


Model Program for Passover 

I 

1. Opening Song, “A Message Sweet the Breezes 


Bring”, Union Hymnal 195. School 

2. Recitation, “The Promise of Spring”. Primary 

3. Dance of Freedom. Intermediates 

4. Recitation, “A Lullaby in Egypt”. Intermediate 

5. Tableau, “The Finding of Moses”. Intermediates 

6. Essay, “The Meaning of Chad Gadya”. Senior 

7. Song Tableau, “Chad Gadya”, Primary or Intermediates 

8. Closing Song, “God of Might”, Union Hymnal 

164 . School 


VARIATIONS 

For No. 2 may be substituted, “Passover” (page 180). 

No. 4. If a longer recitation for a Senior is desired, “On the Picture of the 
Finding of Moses” (page 182) may be recited during the showing of the 
picture. 

No. 5. If more elaborate tableaux are required, a set of elaborate Passover 
tableaux have been prepared by Samuel S. Grossman; they are for sale 
by the Young Judea. 

No. 6 and the following number may be omitted if the program proves 
too long for an informal affair. 












180 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


THE PROMISE OF SPRING 

Swinging on the apple spray 
Sings a robin all the day: 

(How the song overflows his throat!) 

“Praise to God, who gave us May.” 

Shy the violet and afraid, 

Yet she murmurs in her glade, 

(All her soul in perfume shed,) 

“Thanks to Him for sun and shade.” 

If our Father loves them well, 

Bird and flower of the dell, 

His great heart will keep us warm— 

Israel’s children, safe from harm; 

He who gives the violet dev T 
Will guard faithful Israel, too. 

—Elma Ehrlich Levinger. 

PASSOVER 

The First Declaration of Independence 

The sullen ice has crept from sunny fields, 

The conflict of the elements is passed! 

Again the spring its wealth of verdure yields, 

The probing sun has conquered frost at last! 

’Tis the Passover of reviving earth, 

The longed-for resurrection of its charms, 

Each peeping bud a type of Freedom’s birth— 

A conquest each o’er winter’s dread alarms. 

All, all the sunny joys till now concealed, 

Are prototypes of Liberty’s blest morn 
When Israel’s rescue first that truth revealed— 

“To free and equal rights all men are born!” 


PROGRAM FOR PASSOVER 


181 


Infallible as Nature in her round 

Emancipates herself from winter’s reign, 

So shall the clarion note of Freedom sound 
And all the world the burden proud sustain. 

Oh mankind, hear!—and to all those proclaim 
Who languish for the light of Freedom’s sun— 
Let all the Nations join the glad acclaim: 

‘‘Our God is One—Humanity is One!” 

—Deborah Kleinert Janowitz. 


DANCE OF FREEDOM 

This dance should be expressive of the exuberance and 
joy of Spring, as well as the coming of Freedom to an op¬ 
pressed people. A girl, who is an excellent solo dancer and 
gifted in pantomime, sits mourning upon the ground. She 
wears dark, coarse garments; her hair is flowing and un¬ 
bound. A number of girls dressed in flowing robes of red 
and black, dark veils shrouding their faces, representing the 
Spirits of Hatred and Persecution, dance about her, mocking 
as they dance. 

An equal number of dancers in white garments with 
rosy flowers twined about their flowing hair enter; they also 
dance about the central figure, their line interweaving with 
the dark spirits. The two groups must express for each 
other the eternal hatred of Spring for Winter, Good for 
Evil. Finally Evil Spirits are driven out. 

The Spirits of Freedom dance about the central figure, 
Israel, who rises joyfully and throws off the dark garments; 
she wears flowing robes of pale green and gold; there is a 
gold crown about her head. About her waist is a girdle of 
flowers from which hang flowery garlands; she flings these 
to the dancers, who kneel about her in a closing tableau. 
If desired, these garlands can be made to form the lines of 
the Mogen Dovid. 


182 JEWISH FESTIVALS IN TIIE RELIGIOUS SCHOOL 


A LULLABY IN EGYPT 

This is the song the Hebrew mother sang 
In distant Egypt ’neath the morning star. 

Hush, little baby, asleep on my arm, 

Mother will watch you and keep you from harm, 
Mother will linger to watch o’er your sleep, 

Ah, but Nile waters are bitter and deep! 

See the fair basket of willows I’ve made; 

Sleep in it sweetly. Oh, be not afraid! 

Prom Pharaoh’s horsemen your mother will save— 
How can I leave you upon the strange wave? 

Though the dark waters may carry you far, 

God will watch o’er you wherever you are; 

Poor little baby, you smile in your sleep— 

Ah, but Nile waters are bitter and deep! 

— Elma Ehrlich Levinger. 


ON THE PICTURE OF THE FINDING OF MOSES BY 

PHARAOH’S DAUGHTER 

This picture does the story express 
Of Moses in the bulrushes; 

How lively the painter’s hand 
By colors makes us understand. 

Moses that little infant is, 

This figure is his sister. This 
Fine, stately lady is no less 
A personage than a princess, 

Daughter of Pharaoh, Egypt’s king, 

Whom Providence did hither bring 
This little Hebrew child to save. 

See how near the perilous wave 


PROGRAM FOR PASSOVER 


183 


He lies exposed in the ark, 

His rushy cradle, his frail bark! 

Pharaoh, king of Egypt land, 

In his greatness gave command 
To his slaves they should destroy 
Every new-born Hebrew boy. 

This Moses was a Hebrew’s son; 

When he was born, his birth to none 
His mother told, to none revealed, 

But kept her goodly child concealed. 

Three months she hid him; then she wrought 
With bulrushes this ark, and brought 
Him in it to this river’s side, 

Carefully looking far and wide 
To see that no Egyptian eye 
Her ark-hid treasure should espy. 

Among the river flags she lays 
The child. Near him his sister stays. 

We may image her affright 
When the king’s daughter is in sight. 

Soon the princess will perceive 
The ark among the flags, and give 
Command to her attendant maid 
That its contents shall be displayed. 

Within the ark the child is found, 

And now he utters mournful sound. 

Behold, he weeps as if he were 
Afraid of Egypt’s cruel heir! 

She speaks; she says, “This little one 
I will protect though he the son 
Be of an Hebrew.” Every word 
She speaks is by the sister heard. 

And now observe, this is the part 
The painter chose to show his art. 

Look at the sister’s eager eye, 

As here she seems advancing nigh. 


184 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


Lowly she bends—says, “Shall I go 
And call a nurse for thee? I know 
A Hebrew woman liveth near. 

Great lady, shall I bring her here?” 

See! Pharaoh’s daughter answers “Go!” 

No more the painter’s art can show. 

He cannot make his figures move. 

On the light wings of swiftest love 
The girl will fly to bring the mother 
To be the nurse. She’ll bring no other. 

To her will Pharaoh’s daughter say, 

“Take this from me away, 

For wages nurse him. To my home 
At proper age this child may come. 

When to our palace he is brought, 

Wise masters shall for him be sought 
To train him up befitting one 
I would protect as my own son. 

And Moses be a name unto him, 

Because I from the waters drew him.” 

—Charles and Mary Lamb. 

CHAD GADYA 

The character representing the Kid enters first and sings 
the chorus. This is repeated throughout by all the characters 
until the coming of the Angel of Death. Each character en¬ 
ters in a characteristic manner. The Goat should frisk, the 
Cat should creep along, while Water and Fire should keep 
up a continual battle in pantomime. Before the Angel of 
Death enters, they are all together near the front of the 
stage. The Angel of Death enters and holds out a sword. 
The characters representing the nations creep one by one 
below the sword and pass out. Only the Kid, signifying 
Israel, remains, and as he sings the last stanza, he advances 
slowly toward the Angel of Death who, cowering before him, 
creeps from the stage. 


PROGRAM FOR PASSOVER 


185 


Costumes : 

Kid: Short white skirt or bloomers; white tight-fitting 

jacket, white stockings, close white cap, with peaks for 
horns. 

Cat: Grey costume, made like one-piece pajamas, the sleeves 
and legs to extend over hands and feet as mittens and 
shoes. 

Dog : Black with white spots, made like Cat’s costume. 

Stick: Long costume of light brown; should carry a staff. 

Fire : Flowing garments of red and yellow, decorated with 
fringes at the wrists; hair flowing. 

Water: Same as Fire, but in shades of green and blue. 

Ox: A brown costume similar to Dog, but cap having horns. 

Butcher : Loose white robe with streaks of red, crimson 
girdle and head-dress; carries knife. 

Angel of Death : Black flowing garments with loose sleeves 
and draperies shrouding the face; should carry a long 
sword. 


—Arranged by Alexander M. Duskin. 


186 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


Model Program for Passover 

II 

1. Opening Song, “God of Might”, Union Hymnal 

164 . School 

2. Essay, “The Meaning of the Seder”_ Intermediate 

3. Song, “If Our God Had not Befriended”, Union 

Hvrnnal 194. School 

V 

4. Dance of Miriam’s Maidens by the Red Sea, 

Intermediates or Seniors 

5. Recitation, “Why Meyer Likes Pesach”, 

Primary or Intermediate 

6. Play, “The Silver Cup”. 

7. Closing Song, “America”, Union Hymnal 226... School 

VARIATIONS 

No. 2 may be omitted if the idea is repeated in recitation or play. 

No. 5, or: “Seder Night” (page 188); “The Seder” (page 189); “On 
Passover Eve” (page 190) ; “Seder” (page 191); “Little Things” (page 194); 
“The Seder Dish” (page 195); “Seder in Whitechapel” (page 195); “Why We 
Keep Pesach” (page 196). 




PROGRAM FOR PASSOVER 


187 


DANCE OF MIRIAM’S MAIDENS 

The maidens follow Miriam upon the stage. They wear 
bright-colored robes of contrasting shades; their hair is ar¬ 
ranged loosely and they carry cymbals. (These can be made 
by covering the tin covers of kettles with gold or silver 
paper.) 

The music should be quick and triumphant; the dance 
should be full of life and motion. There should be much 
clashing of cymbals, the girls forming groups of twos, strik¬ 
ing cymbals whenever they pass their partners in the course 
of the dance. 

Miriam, who should be taller than the rest, should carry 
instead of cymbals an armful of flowers which she scatters 
as she dances, or a lyre which she pretends to play. 

WHY MEYER LIKES PESACH 

My, I’m glad the winter’s over, 

And that Pesach is so near, 

’Cause I think the night of Seder 
Is the best time of the year. 

I can stay up long that evening; 

All the silver’s polished bright, 

And the dishes are all shining, 

And the cloth is clean and white. 

And my brothers and big sister, 

Who’s moved to some other place, 

All are gathered ’round the table 
When my papa says the grace. 

Then I ask him why that evening 
Isn’t like another night; 

And my mama smiles at grandma 
’Cause I read the Hebrew right. 


188 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


Afterwards I find the Matzoh— 

Sister says it isn’t fair, 

’Cause I know that papa hides it 
In the cushions of his chair. 

’Bout that time I’m kinda sleepy, 

But I just hold up my head; 

How could they say the ’Had Gadya 
If I had to go to bed? 

When I wake up it is morning, 

And the sun is shining bright, 

And I wish that it was next year— 

And another Seder night! 

—Elma Ehrlich Levinger. 

SEDER NIGHT 

Why are the hearts of our people so light ? 

Why is it home is so wondrously bright? 

Happiness, holiness, shining o’er all, 

Hear how the men from the synagogue call, 

“Gut-Yomtove, Gut-Yomtove!” It’s Pesach tonight! 
The Seder is set, and around in a ring 
We Princes are sitting, and father is King, 

While heaven is hearing the songs that we sing: 

“ ’Tis Yomtove, Gut-Yomtove!” It’s Pesach tonight! 

“Father, four questions: 0 why do we do 

All these strange things?” Then he tells us anew 

Beautiful stories of Passover night; 

And mother says low, as we hear him recite, 

“Be proud, little fellow, be proud you’re a Jew!” 

I hear how the Jews pass across the Red Sea; 

God is their leader, and now they are free! 

The chosen of God, and His children are we! 

I’m proud, and I’m happy; I’m proud I’m a Jew! 

—Samuel S. Grossman. 


PROGRAM FOR PASSOVER 


189 


THE SEDER 

Ring in the glorious festal-tide 
That dawns o’er land and sea; 

Proclaim the storv far and wide 
That made a people free. 

A wondrous tale, and often told, 

Yet never dim it grows, 

And now, as in the days of old, 

No fading light it knows. 

But ever fresh and bright it comes 
Across the moving years, 

And gayly in our festive homes 
Rings welcome in our ears. 

A table set in spotless white, 

With gladsome hearts around— 

A hallowed scene of joy and light 
As nowhere else is found. 

The symbols of our feast in line 
Before our view are spread, 

The bitter herb and mystic wine, 

The Paschal meat and bread. 

Then from the book of ancient lore 
The tale again is told, 

With heightened tone and full rich store 
Of legend quaint and old. 

How Israel came to Egypt’s land 
And through long years did bide, 

How on them Pharaoh laid his hand 
In all his godless pride. 


190 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


Till God, He heard their bitter cry, 

And swift His vengeance wrought, 

’Mid signs and wonders from on high 
The tyrant low was brought. 

God led them on to victory, 

Freedom crowned their day; 

They marched away a people free 
With banners high and gay. 

And so, with praise to God and song, 

Israel, far and wide, 

Remembers through the ages long 

This happy festal-tide. — J. F. 


ON PASSOVER EVE 

On the Passover bed, at his table reclining, 

Eliphelet, the coachman, is happily dining. 

From afar has he borne all his festival needs, 

Over torturesome paths, over wearying meads; 

By day and by night has each suffering beast 
Long labored with him for the Passover feast; 

And at last the hard struggle is ended, thank Heaven! 

The crimson wine sparkles; removed is the leaven. 

The house has been scoured to its uttermost nook, 

And the candles’ bright rays on its spotlessness look. 
About are his children, like olive trees planted; 

His wife busy still, e’er the Kiddush is chanted; 

Then joyously smiling, in garments of snow, 

He tells them the tale of the days long ago: 

Elijah, he promises, soon shall rise up 
To drink of their wine in his Passover cup! 

—(From the Hebrew of J. L. Gordon, translated by 

Abraham Burstein.) 


PROGRAM FOR PASSOVER 


191 


SEDER 

If I ask too many questions 
Fm told I’m impolite, 

But I was bound that I’d find out 
About the Seder night. 

Before I had a chance to ask, 

Our teacher told the class 
She’d speak about the Seder eve 
And how it came to pass. 

Of course I knew most everything 
About the Pesach time, 

Excepting the Hagodah and 
The subject of this rhyme. 

Hagodah means just Narrative, 

And this one tells about 
The Israelites in Egypt and 
How Moses led them out. 

The Matzos are Unleavened bread, 

The Egg, the Sacrifice, 

Charoses, Mortar for the Bricks— 

I know they’re very nice, 

’Cause I helped my mother make them, 
And goodness, they were fine, 

With almonds, sugar, apples, 

And lots of raisin -wine. 

% 

Moror, the Horseradish, you know, 
Reminds us of the years 
When Israel in Egypt lived 
In bitterness and tears. 


192 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


The Bone is for the Paschal Lamb, 

Of which we all have learned, 

That’s roasted till it’s very brown 
And looks as though ’twere burned. 

The Parsley is a relish used 
At most meals in the East; 

We like ours in Salt-water dipped 
When at our Seder feast. 

If Ehlee Novee should appear— 

Elijah is his name— 

He’d find an extra cup of wine 
All ready when he came. 

I’m glad that teacher told us this; 

It’s interesting, quite, 

This Narrative that she explained 
About the Seder night. 

I think it’s the grandest story; 

And one thing more I’ll say— 

I’m proud I live in this country, 

The glorious U. S. A. 

—Miriam Myer 


THE PASSAGE OF THE RED SEA 

On the sand and sea-weed lying, 

Israel poured her doleful sighing 
While before the deep sea flowed; 

To their fathers’ Gcd they prayed— 
(And behind fierce Egypt rode)— 

To the Lord of Hosts for aid. 


PROGRAM FOR PASSOVER 


193 


With lifted rod the prophet stood 
On the margin of the flood, 

And the summoned East wind blew, 

And aside it sternly threw 

The gathered waves, that took their stand 

Like crystal rocks, on either hand, 

Or walls of sea-green marble piled 
’Round some irregular city wild. 

Then with bow and banner glancing, 

On exulting Egypt came, 

With her chosen horsemen prancing 
And her cars on wheels of flame, 

In a rich and boastful ring 
All around her furious king. 

But the Lord from out His cloud— 

The Lord looked down upon the proud 

As the host drove heavily 

Down the deep bosom of the sea. 

With a quick and sudden swell 
Prone the liquid ramparts fell: 

Over horse and over car, 

Over every man of war, 

Over Pharaoh’s crown of gold 
The loud thundering billows rolled. 

As the level water spread, 

Down they sank—they sank like lead— 
Down without a cry or groan. 

And the morning sun that shone 
On myriads of bright-armed men 
Its meridian radiance then 
Cast on a wflde sea, heaving as of yore 
Against a silent, solitary shore. 



194 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

Then did Israel’s maidens sing, 

Then did Israel’s timbrels ring 

To Him, the King of Kings, that in the sea 

The Lord of lords had triumphed gloriously! 

—Henry Hart Milman. 
(From Detroit Jewish Chronicle.) 


LITTLE THINGS 

’Tis often little things, I’m told, 

That make men great or strong or bold, 

And nations, too, may stand or fall 
By what at first seems passing small. 

Just so the Pesach wonders find 

\ 

A host of questions in my mind:— 

What if the wicked king had died 
Before he sought to slay our pride? 

And what if Moses in the stream 
Had fallen out, in childhood’s dream? 

And then, suppose that he had quailed 
When by Egyptian foes assailed? 

What if there’d been no place to go 
When Jethro found him bowed in woe? 

What if no king had shown disdain 
For Moses’ words, and plagues were vain? 

See—all these queries serve to show 
Had not the small things been just so, 

We’d never have come here to pay 
Our thanks for Pesach’s joys today! 

—Abraham Burstein. 


PROGRAM FOR PASSOVER 


195 


THE SEDER DISH 

Bring us in the Seder dish 
Long before the meat and fish! 

Come Charoses, Moror too, 

We shall taste of both of you! 

Little bone that means a lamb, 

Egg that just like Isaac’s ram 
Takes the place of sacrifice, 

Come and make our Seder nice! 

Isn’t Pesach simply fine, 

With the Matzoth and the wine? 

Here’s a seat for you and me, 

All sit down in company! 

—Sulamith Ish-Kishor. 


SEDER IN WHITECHAPEL 

“These be the symbols of the Passover— 

Unleavened Bread that Moses baked in haste, 

The bitter Herb of sorrow, and the Paste, 

For mortar of the hateful taskmaster. 

Lastly, the Paschal Bone, the sacrifice, 

To show God’s mercy when He passed our door, 

But slew Mizraim’s first-born. In no wise 
Shall He desert His people evermore!” 

So chants the father of the house, at ease, 

Leaning on pillows on this Night of Nights 
Before a table spread with goodly things— 

A poor man, who would not change place with kings; 

While in the gleam of festive candle lights 

The youngest son is asking: “What are these?” 

—Leopold Spero. 



196 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


WHY WE KEEP PE SACK 

’Twas many hundred years ago 
That in the far-off land 

Of Egypt dwelt the Israelites— 

A peaceful, happy band. 

But Pharaoh, the Egyptian king, 

Was wicked as could be; 

He made the Israelites his slaves 
And whipped them dreadfully. 

To Moses God then spoke, and said, 

“Go tell this cruel king 

That he must let my people go, 

Or on him I will bring 

“Such punishment as he deserves”; 

But Pharaoh did not heed, 

So God sent ten most dreadful plagues, 
And soon the Jews were freed. 

To Egypt then they bade good-bye, 

And Moses led the way; 

Across the desert’s burning sands 
They tramped their weary way. 

But Pharaoh soon was sorry that 
He set his slaves all free; 

“I’ll go and bring them back”, he said, 
“To work and build for me.” 

So with his army he set out 
The fleeing host to find; 

The Red Sea they had almost reached 
When he came up behind. 


PROGRAM FOR PASSOVER 


197 


Whatever could they do, poor things'? 

Before them was the sea— 

Behind, the foe marched quickly on; 
They had no place to flee. 

The Lord of Hosts came to their aid; 

The waves aside He tossed, 

And on dry land—the Red Sea bed— 
The Jews in safety crossed. 

And Pharaoh and his army great 
Rushed on with leap and bound; 
Down came those walls of water great 
And all of them were drowned. 

I hope you like this story that 
Fve told you in this rhyme— 

The reason that we celebrate 
This good old Pesach time. 


■Miriam Myers. 


198 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


Model Program for Passover 

III 

1. Opening Song, “When Israel to the Wilderness”, 

Union Hymnal 136. School 

2. Essay, “Passover, the Festival op Freedom”, 

Intermediate or Senior 

3. Song, “We Lift Our Eyes to Yonder Hills”, 

Union Hymnal 62. School 

4. Play, “Out of Egypt”. 

5. Closing Song, “God of Might”, Union Hymnal 

164 . School 


VARIATIONS 

No. 1, or 146. 

No. 2, or recitations: “The Heavenly Light” (page 199); “The Voice 
unto Pharaoh” (page 200); “The Mission of Moses” (page 201); “The 
Burial of Moses” (page 201); “The Shepherd” (page 202). 

No. 3, or Union Hymnal 128. 

No. 4, If no play is given, the recitation, “The Passover” (page 204), 
or “The Passage of the Red Sea” (page 192) may be substituted. 





V 


PROGRAM FOR PASSOVER 199 


THE HEAVENLY LIGHT 

When Israel in the wilderness 

Had fled from Pharaoh’s cruel might, 

The Eternal sent, to lead them on, 

A cloud by day, a fire by night. 

And, guided by the heavenly flame, 

That beacon from Jehovah’s hand, 

The chosen people safely reached 

Their destined goal, the Promised Land. 

Yet not alone in days of yore 

Has God His wondrous mercy shown, 

For still He grants to all mankind 
A glorious light to lead them on: 

A lamp of radiant, glowing hue, 

By Israel born in every clime, 

Through fire and flood, through tears and blood, 
With courage grand and faith sublime. 

That beacon is the Decalogue 

Proclaimed from Sinai’s flaming height, 

And burning, as each age rolls by, 

With purer, grander, holier light. 

Oh, heavenly lamp! Thy light shall shine 
Till sin and hate from earth depart; 

Till wrong shall fail and right prevail 
And justice rule the human heart. 

—Adapted from Max Meyerhardt. 


200 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


THE VOICE UNTO PHARAOH 

“Pharaoh, Pharaoh, let my people go!” 

My fettered children toil with aching limbs 
And wearied fingers, brain and spirit bound. 

Their puny forms are bent; the shadow dims 

Their straining eyes; their ears are choked with sound, 
And thick with reek is every breath they draw. 

I gave them light to see and song to hear. 

I gave them Truth for guide and Love for law, 

And thou hast given darkness, blight and fear. 

“Pharaoh, Pharaoh, let my people go!” 

In chains, unseen but strong, my children slave, 

Too dull for hopes or dreams, too dumb for prayers. 
Thou, thou hast robbed them of the youth I gave, 

The world I made, the joy that should be theirs. 

Their lives are coined to swell thy shining store; 

Then darest thou plead, “Nay, Lord, I did not know”— 
Still heaping up their burdens more and more? 

The sand is running. Let my children go. 

“Pharaoh, Pharaoh, let my people go!” 

Thy heart is hard. Be warned. The Plagues may come. 

The wrong thou dost may breed yet fouler wrong. 
Those lips may speak in flame that now are dumb; 

Those feeble hands, through wrath and hatred strong, 
May rend where they have wrought. Yea, once again 
Disease, Revolt and Crime mav overthrow 
The Selfishness that bred them. Sons of men, 

For dread of vengeance, let my people go! 


—Arthur Guiterman. 


PROGRAM FOR PASSOVER 


201 


THE MISSION OF MOSES 

When Israel in Egypt toiled and wept, 

Moses afar the sheep of Jethro kept; 

Unconscious of the coming word of God, 

Following his flocks, the desert path he trod; 

And as he sought to gather them one day 
A half-grown lamb chanced from the fold to stray. 

He called the wand’rer back, but all in vain; 

And far he followed it across the plain 
Until, at last, beside a streamlet’s brink 
He saw the wearied creature stop to drink. 

“Yea”, Moses said, “in sooth I did not guess 
’Twas thirst that made thee my command transgress. 
Thou hast come far—perchance art wearied sore.” 
And homeward in his arms the lamb he bore. 

Then spoke the Lord: “Since thus thy love provides 
For these poor sheep that man to thee confides, 

As thy soul liveth I will trust to thee 
My flock—my people’s shepherd thou shalt be.” 

—Alice Lucas. 

THE BURIAL OF MOSES 

By Nebo’s lonely mountain, 

On this side Jordan’s wave, 

In a vale in the land of Moab 
There lies a lonely grave; 

But no man built that sepulchre, 

And no man saw it e’er, 

For the angels of God upturned the sod 
And laid the dead man there. 


202 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

This was the bravest warrior 
That ever buckled sword; 

This the most gifted poet 
That ever breathed a word; 

And never earth’s philosopher 
Traced with his golden pen 

On the deathless page truths half so sage 
As he w T rote down for me. 

And had he not high honor? 

The hillside for a pall! 

To lie in state while angels wait 
With stars for tapers tall! 

And the dark rock-pines, like tossing plumes, 

Over his bier to wave, 

And God’s own hand, in that lonely land, 

To lay him in his grave! 

—Cecil Frances Alexander. 

THE SHEPHERD 

Before the throne of Egypt’s lord, 

The shepherd leader, Moses, stands; 

A herder’s staff he firmly grips, 

But with his undimmed eyes commands. 

And Pharaoh, with a fretful mien, 

Turns deaf ears to his pulsing word, 

That, coming in the name of God, 

Is as the voice of thunder heard. 

“Oh, sovereign of the hardened heart, 

My people serve you night and day; 

The stubble of the field they hoard 

To make bricks from your river’s clay; 

And monster cities do they lift 

From sand dunes cast up by the sea— 

They have been slaves a hundred years, 

But now my people must go free. 


PROGRAM FOR PASSOVER 


203 


“My people cried unto their God, 

A zealous God who heard their cry; 

He walks the earth in majesty 

And rules supreme the far-stretched sky. 

He called them to possess His land, 

The kindred of a noble breed; 

That they in large and liberal ways 

May serve their God, they must be freed. 

“The woes of thousand pains they bear, 

Baked bv the sun that steams the Nile— 

%/ 

For every blow a foreman dealt 
%/ 

They wrought some huge but bloody pile; 
The Egypt that you rule, they reared, 

An empire mighty as the sea, 

And for the things their hands have made 
Their fathers’ God now sets them free. 


“My people must go free this day! 

The Red Sea calls, yon desert cries, 

And distant smoking Sinai peaks 
Reverberate their agonies. 

Mv God hath sent me to vour face 
To still the anguish of their moan; 

Unless you free them from their bonds 
My God will smite you and your throne!” 


But Pharaoh of the hardened heart 
He yielded not, as Moses spake, 

Nor feared he that the shepherd’s threat 
Would make that House of Egypt quake. 
His face grew hard, his heart was cold, 

He raised no hand nor bent his knee— 
How could he, bred in lust and greed, 

Let slaves who served his throne go free? 


204 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


Night shrouded him and Egypt’s Nile, 

And earth upset, the slimy deep 
Spread o’er the shimmering, sandy wastes 
The things that death and darkness keep. 

And even then did Pharaoh smile, 

Till lastly Death, as hard as he, 

Touched him remorsefully, and then 
The slaving people were set free. 

And slaves to serve him are they all 
Who know not God and the right; 

But Pharaoh lives in every age 
To covet lust and power and might. 

Today—always—a shepherd’s voice 
Is lifted up to urge his plea, 

Where wrong enthroned grows hard of heart 
And will not let the people free! 

—Joseph Leiser. 


THE PASSOVER 

’Tis night, dark night! A solemn stillness reigns 
O’er Egypt’s land; the midnight hour is come, 
Whilst Pharaoh’s disobedience still detains 
Against God’s will His people; such a doom 
Ne’er fell on land, and ne’er will fall again; 
These were the words divine which Moses gave 
To Egypt’s king and court; but all in vain. 

His heart is hardened, nothing now can save 
The land from desolation; for ’twas He, 

The Immutable, who gave this dread command: 
Death in his stead shall reign; Eternity 
Shall swallow up the first-born of the land. 

But hard and harder grew the tyrant’s heart; 

No fear of God had ever entered there; 

With Israel’s children, how could man so dare? 


PROGRAM FOR PASSOVER 


205 


Not love, but tyranny, forbade him part 
Against high Heaven’s designs, his own to place 
In competition! What, but want of fear 
Of that power, could with unblushing face 
Have made him tempt Omnipotence, and rear 
His haughty head? But God in wisdom knew, 

In wisdom infinite, divinely planned; 

Th’ Eternal mind already had in mind 
Glorious redemption—infinitely planned— 

Oh, great deliverance! What love too great, 

What gratitude of ours can e’er repay 
The mercy which released us from that state 
Of servile bondage and tyrannic sway? 

In every house is silence most profound; 

Th’ Egyptians sleep—not so the chosen race 
Who, all prepared, now wait without a sound, 
Whilst anxious hope is pictured on each face. 

Now suddenly along the midnight air 
A low and piteous wailing first is borne, 

Then loud and fearful shrieks of sad despair 
Echo from house to house, where death has gone. 
Swiftly upon the sable Aving of night 
The angel has gone forth; upon his broAV 
No pity can be traced; for in his sight 
The prince and meanest slave are equalled noAv. 

Then Pharaoh’s voice, amid the general cry, 

In grief and haste for Moses loudly called; 

Moses and Aaron he implored to fly, 

For death surrounds him—he stands appalled. 

Then did the Israelites come forth as one, 

Their wives, their children—cattle in arrear— 

In silence and in haste their flight began; 

They marched triumphant, for their God Avas near. 
He was their only guide by night and day, 

A cloud by day, a pillar of fire by night, 

Thus gloriously He led them on their way. 


206 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

And thus He ever keeps us in His sight. 

Now scarce encamped beside the sea, they view 
With dread and horror Pharaoh and his host; 

His chariots and his horsemen all pursue 
To overtake them ere they reach the coast. 

But w r hat are human plans if God oppose? 

“Pear not”, then Moses said, “but wait and see 
Salvation of the Lord; for these our foes 
Will never more on earth be seen by thee.” 

The sea divides—they v^alk upon dry land; 

Then, at the voice Divine, he lifts his rod— 

Two upright walls of sea majestic stand. 

The cloud, which until now had gone before, 
Suddenly changes its resplendent light; 

The Israelites now crossed; the sea once more 
Resumes its place, but in the Egyptians’ sight 
The light is darkness now; for all is seen 
Dark on that side, where Pharaoh’s horsemen dash 
On with the rapid speed; while still between 
That cloud remains. A loud and fearful crash, 
Another and another quick succeed! 

’Tis God who fights against them; vain the thought 
To flee from Israel’s face; for whence proceeds 
Such wondrous power, if not from God who fought 
On Israel’s side?—who safe had reached the shore 
Ere morning’s faintest blush began to spread; 

They saw the Egyptians sink to rise no more, 

Not one that was not numbered with the dead. 

Then all the multitude, with one accord, 

Joined Moses in a loud and heartfelt cry 
Of gratitude and praises to the Lord; 

“They sang to Him who triumphed gloriously.” 


— R. E. S. 


SHABUOTH 








Shabuoth in the Class-Room 


I N MANY Sabbath Schools Shabuoth coincides with 
the last day of school and the Shabuoth program 
is made to work in with “closing exercises”. Some 
schools make what the author considers a grave mis¬ 
take by closing the year’s work with a perfunctory 
program or even a picnic. The big day of the year, 
Confirmation, is given over to the fortunate few who 
happen to be in the Confirmation Class. The younger 
brothers and sisters, even if they attend the Confirma¬ 
tion Exercises, often come to consider Shabuoth a day 
for white dresses and speeches, with receptions and 
ice cream and cake afterward. 

The author’s plea, therefore, is to allow every child 
to share the Shabuoth festival. Confirmation is a fit¬ 
ting climax which the child should be trained to an¬ 
ticipate from his earliest years in the Sabbath School. 
But on the preceding Sunday, or on the last Sunday 
of the school year, if the closing date comes later, 
there should be a distinct program for every member 
of the school, either a strictly Shabuoth Program or 
Closing Day Exercises. The latter may be a Flower 
Service, or may follow the lines of an old-fashioned 
School Exhibition which summed up the year’s work. 

No matter what program closes the year’s work, 
there should be some discussion of Shabuoth in the 
class-room. The story for the Primary Division will, 
of necessity, be short, since many of the features of 

209 


210 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

this holiday correspond very closely to the aspects of 
the other nature festivals, Succoth and Passover. But 
the teacher can speak to the little ones of the spring 
harvest in Palestine, which the Jews of old celebrated 
by thanking God for His goodness and sharing of their 
bounty with others. Tell how they made the happy 
pilgrimage to Jerusalem, as on Succoth and Passover, 
bringing this time the sacrifice of first fruits, since the 
harvest comes earlier in Palestine than in this country. 
Add that, in Palestine, just as in this country, May 
and June make the fields beautiful with flowers, and 
that Shabuoth is really the Flower Day of the Jewush 
people. For even in the Middle Ages, wdien they had 
no land of their own, they tried to decorate their syna¬ 
gogues with flowers and brought fresh green grass to 
lay upon the floor. If possible, arrange for a Flower 
Service as part of the school program for the last day. 
But if this is impossible, at least have the children of 
the Primary classes bring flowers to put into the 
bright paper baskets they themselves have made, and 
arrange for these offerings to be taken to the chil¬ 
dren’s ward in some hospital. 

The story of the holiday should close with a little 
talk about the Ten Commandments and how they were 
given on Shabuoth, the child being reminded that on 
the previous holiday, Passover, the Jewish people be¬ 
came free to leave Egypt, while on Shabuoth they 
promised to obey God and keep His commandments, 
which all good people try to keep even after all these 
many hundreds of years. 

The handwork should consist of making the bas¬ 
kets already de'scribed; wreaths of paper flowers to 


SHABUOTH IN THE CLASS-ROOM 


211 


trim the Sabbath School rooms, if there is to be a 
party, and the coloring or sewing of appropriate pic¬ 
tures. 

The story for the Intermediate Division should 
bring out the fact that there are two early harvests 
in Palestine, the barley harvest of Passover, the early 
wheat harvest of Shabuoth. Hence on Shabuoth the 
offering of “first fruits” consisted not only of fruits 
and grains, but two loaves of bread baked from the 
first grain of the year’s harvest. If time had not per¬ 
mitted more than casual mention at Succoth, Shabuoth 
is the appropriate time to describe the modern agri¬ 
cultural colonies of Palestine and our own Jewish 
Farm School in this country. For facts concerning 
ancient Judea take on new color and vitality when 
linked to the living realities of today. In connection 
with the harvest, have the pupils read or recite ex¬ 
tracts from the Book of Ruth, or tell them the whole 
idyllic story, adding that the book is always read in 
the synagogue on Shabuoth, to bring out the Biblical 
injunction of sharing the harvest with those who fol¬ 
lowed the gleaners. 

If time permits the teacher to speak of the pil¬ 
grimage to Jerusalem, she might do well to draw upon 
the poetic description furnished by Morris Joseph in 
his chapter on Shabuoth in his “Judaism as Creed 
and Life”. The same chapter, by the way, contains 
several inspiring paragraphs on perhaps the greatest 
event in the life of the Jewish people—the giving of 
the Ten Commandments. This material, however, 
should not be used in class-room discussion except in 
the Senior Division. 



212 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

The Ruth story discussed, it will be well to ex¬ 
plain to the class that, although Ruth was probably 
chosen for synagogue reading on Shabuoth because of 
its seasonal appeal, it is a significant fact that the 
main theme of the glory is the acceptance of the Law 
of Israel by a proselyte. For in post-biblical times 
Shabuoth became more than a harvest festival—it be¬ 
came a memorial of the day on which the Ten Com¬ 
mandments were given. 

If the Commandments have not been already 
learned the children of the Intermediate Division 
should be required to learn them by Shabuoth. After 
they are recited, a simple discussion of each should 
follow. If possible, the teacher may tell a short story 
to illustrate several of the Commandments which are 
the most difficult for a young child to understand. 
By all means, let her read Ginzberg’s Legends on the 
Giving of the Law, adapting and amplifying them to 
suit her own needs. If well told, they should serve as 
a golden cord to link the Commandments together in 
the mind of the legend-loving child. 

For the Senior Division the teacher should dwell 
chiefly upon the significance attached to Shabuoth in 
post-biblical times. As Dr. Kohler beautifully puts it, 
Shabuoth became “the Feast of the First Fruit of Is¬ 
rael’s spiritual life, because it commemorated the day 
of the Giving of the Law on Mount Sinai.” The ag¬ 
ricultural side of the holiday must not be neglected, 
and if the child has not already learned of the omer, 
this is the proper place to teach him of the ancient 
custom; but above all must he be impressed with the 
fact that this festival, to quote Morris Joseph, “has 


SHABUOTH IN THE CLASS-ROOM 


213 


come to be the Birthday of Israel’s Religion, just as 
Passover is the Birthday of Israel’s Nationality.” 

The nineteenth and twentieth chapters of Exodus 
may be read in class, thus reviewing the Command¬ 
ments. An excellent class exercise is to have each 
pupil write an original story, historical or modern, 
showing how the principal character either obeyed or 
disobeyed a given commandment. These stories will 
be moralistic to a wearisome degree, but the writers 
will not fail to catch the fundamental idea of the com¬ 
mands they are expounding. 

In taking up the study of Shabuoth with confirm- 
ands or children who will be confirmed in another 
year, it is an easy thing to lead them to see the chil¬ 
dren of modern Israel as the “first fruits”, the offer¬ 
ings brought on Shabuoth to Israel’s altar for conse¬ 
cration to God’s service. It is not necessary to dwell 
long upon this point, for the meaning of Confirmation 
will be fully expounded by the teacher of the Con¬ 
firmation Class. But any teacher in the Senior Divi¬ 
sion should not neglect this opportunity to form an¬ 
other link to bind the present generation to those who 
at the foot of the flaming mountain pledged them¬ 
selves to serve the living God. 

The handwork of the older children will be to fin¬ 
ish their scrap-books for the year, prepare decorations 
for the class-room or auditorium if Closing Day Ex¬ 
ercises are to be held, and decorate programs or 
posters, on which either of the following Shabuoth 
quotations may be written: 


214 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

The Law they receive from the mouth of Thy glory, 

They learn and consider and understand; 

Oh! accept Thou their song, and rejoice in their gladness, 
Who proclaim Thy glory in every land. 

—Jehuda Halevi. 

My heart is blossoming like a flower 
On Sharon’s harvest field; 

My heart is burning like the star 
That shines on David’s shield, 

Because once more I see God’s Law 
To Israel revealed. 


—Jessie E. Sampler. 


STORIES ABOUT SHABUOTH 


215 


Stories About Shabuoth 
For Intermediates 
Modern 

“Pentecost: or, the Pilgrimage” from “Festival Sto¬ 
ries”. Hannah Trager (Dutton). 

Biblical 

“The Lad Who Brought No Offering” from “Play¬ 
mates in Israel”. Elma Ehrlich Levinger (Jew. Pub. Soe.). 

For Seniors 
Modern 

“Clothes” from “Jewish Holyday Stories”, by Elma 
Ehrlich Levinger (Bloch). 

Historical 

“The Lesson of the Harvest” from “Stories from the 
Rabbis ”, by Abram S. Isaacs (Bloch). 

“Amid the Alien Corn” from “David the Giant Killer”, 
by Emily Solis-Cohen (Jew. Pub. Soc.). 

“A Rose for Beauty” from “In Many Lands”. Elma 
Ehrlich Levinger (Bloch). 

References for Highest Grades and Teachers 

Bible: Deut., ch. 16:9-12. 

Book of Ruth. 

Jewish Encyclopedia: Pentecost and related subjects. 


216 L JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

Jewish Life in the Middle Ages. Israel Abrahams 
(Jew. Pub. Soc.) Page 348. 

Festival Studies. Israel Abrahams. (Greenstone.) 
Chapter 2. 

Legends of the Jews. Louis Ginzberg. (Jew. Pub. 
Soc.). Vol. III. Consult Index. 

Judaism as Creed and Life. Morris Joseph. (Mac¬ 
Millan.) Book II, chap. Y. 

Guide for Instruction in Judaism. Dr. K. Kohler. 
(Cowen.) Chap. 3-4, page 117. 


THE SHABUOTH PROGRAM 


217 


The Shabuoth Program 

The length and nature of the Shabuoth program 
depend upon two facts: (1) Whether there has been 
a long and elaborate program on Passover; (2) 
whether the school plans to have its entertainment oc¬ 
cur the week of Shabuoth or fall upon its closing day, 
which is often several weeks later. 

If an ambitious program has been prepared for 
Passover, any program for Shabuoth, whether it be 
devoted strictly to Shabuoth or represents general 
Closing Day Exercises, should be short and simple. 
For example, a long pageant like the author’s “Let 
There Be Light”, which would be most appropriate 
for a program at the end of a year’s work, requires at 
least two months’ intensive rehearsing. This would 
be too hard upon the coaches and the children them¬ 
selves if they have just put on anything but the most 
informal program for Passover. One exception may 
be made—when the school is so large that the two 
entertainments are given by entirely different groups 
of children, under different coaches. Even then the 
atmosphere of too many big entertainments is usually 
demoralizing to the regular routine of the school. 

On the other hand, if only one large entertainment 
has been given before Passover, that holiday being 
celebrated by a public Seder or informal party, there 
is no reason why the Shabuoth or Closing Day enter- 


218 JEWISH FESTIVALS IN THE BELIGIOUS SCHOOL 

tainment should not be one of the most important en¬ 
tertainments of the whole year. For one thing, the 
milder weather makes it possible to present an out-of- 
doors pageant or spectacle; again, nothing is more 
effective for summing up the year’s work than a dra¬ 
matic summary in the form of historical dialogues, 
tableaux, etc., based upon the work of the different 
classes. 

In case the simplest Closing Exercises are required, 
they may consist of the usual business of the Closing 
Session—awarding of prizes, bestowing of honorable 
mention, etc. A short program may follow, members 
of each class presenting a number suitable to Shabu- 
oth, or at least to a Jewish Religious School. If there 
are a great many classes, it is always possible to com¬ 
bine three or more children of related grades, giving 
them a dialogue, or breaking up a longer recitation 
for them to recite, each taking a stanza. Or the same 
number may sing an appropriate song. 

If the school is blessed with even a modest ward¬ 
robe of Biblical costumes and properties, one of the 
most effective “reviews” of the year’s work will be 
“historical tableaux”. These are especially fine if 
the characters, while keeping their place in the pic¬ 
ture, speak a few words. For example: Saul may be 
shown half reclining upon the ground, while David 
with drawn sword stands a little apart, a piece of 
Saul’s garment in his hand. David: “Behold, this 
day thine eyes have seen how that the Lord had de¬ 
livered thee today into mine hand; and some bade me 
kill thee; and I said, I will not put forth mine hand 
against the Lord’s anointed.” Saul: “Thou art more 


THE SHABUOTH PROGRAM 


219 


righteous than I: for thou hast rendered unto me 
good, whereas I have rendered unto thee evil.” 

The various classes should all be asked to contri¬ 
bute one “picture”, which should be chosen from the 
period studied during the year’s work. For example: 
Several members of the Primary Class may show 
Joseph restored to his father; the class above may 
present the Finding of Moses; the next class the 
bringing of the child Samuel to the Temple. 

It will be readily seen that such tableaux will take 
very little rehearsal; no background need be used, 
and although a large property “book” is not ex¬ 
pensive, and can be used again and again for tab¬ 
leaux, the pictures may be arranged behind drawn 
curtains. The title for each picture should be read 
clearly before the curtains are opened. Music, prefer¬ 
ably violin, played softly during the dialogue, is al¬ 
ways pleasing, great care being exercised lest it drown 
the voices of the speakers. 

If these tableaux are not desired, several simple 
scenes of great crises in Jewish history make a good 
substitute. For this purpose the pageant “God is 
One” may be used, since certain episodes may be 
given on a small stage. Of course, if the program is 
to be devoted largely to Shabuoth, it is best to use 
tableaux illustrative of the story of “Ruth”, which 
lends itself admirably to such treatment. Or the 
highest classes may be persuaded to write their own 
play based on the Book of Ruth (see the little play in 
the Appendix), or members of an advanced class in 
Hebrew may translate the author’s playlet “Ruth of 


220 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

Moab” into Hebrew, which should be easy for any 
audience to follow because the story is so familiar. 

Should such a summary of the year’s work be 
given, it is always highly desirable to have an “ exhi¬ 
bition” of the pupils’ work on hand for parents and 
visitors to examine. This may consist of the best of 
the scrap-books and handwork for the various holi¬ 
days, prize stories and compositions, and drawings 
mounted on cardboard and arranged on walls and 
tables, model maps and the like. Such an exhibition 
at regular intervals does much to arouse a child’s am¬ 
bition, as well as to stimulate interest in the parents. 

Sometimes even a program such as the one sug¬ 
gested above proves for one reason or another too 
difficult of preparation at the end of a busy school 
year. In its place may be substituted a simple talk 
on Shabuoth and the story of Ruth, or a talk on a 
more general topic should Closing Day fall on a later 
date. Then could come the Flower Service arranged 
by Rabbi I. S. Moses. It may be found in his hymnal 
or purchased in pamphlet form of Bloch Publishing 
Co. It is simple and easily prepared, and, if desired, 
other songs and recitations may be substituted from 
the anthology included in this volume. The children 
will all enjoy bringing the flowers and arranging 
them on the altar. If some of the older ones are al¬ 
lowed to distribute them in some childrens’ ward, one 
of the lessons of the Jewish harvest will be empha¬ 
sized. On the other hand, if neither the Flower Ser¬ 
vice nor a simple miscellaneous program is desired, a 
few songs and recitations, carefully chosen, may be 
added to Children’s Service VII of the Union Hymnal. 


PLAYS FOR SHABUOTH 


221 


Plays for Shabuoth 

Intermediate and Senior Divisions . Historical 

“Ruth of Moab”. Elma Ehrlich Levinger. Published with 
this volume. 

“Let There Be Light”. • Elma Ehrlich Levinger. Published 

with this volume, 

for which may be substituted 

Intermediate Division . Modern 

“The Treasure in the Trunk ”, three boys, three girls; a play 
in one scene with a lesson appropriate to Shabuoth. 
Wm. M. Blatt (Bloch). 

Historical 

“The Lost Scroll”, four boys; a short but interesting sketch, 
the three scenes of which are laid in Jerusalem during 
the rebuilding of the Temple. Dr. Nathan Krass 
(Bloch). 

“The Slave from Egypt”, eight boys (the parts may be taken 
by girls); a picturesque little play in one scene, show¬ 
ing how the nations rejected the Torah while Israel ac¬ 
cepted it. Judith Ish-Kishor (Young Judea). 

Intermediate and Senior Divisions . Historical 

“God is One”, a historical pageant depicting certain striking 
episodes in Israel’s history; written in ten scenes, it is 
most suitable for out-door presentation by the entire 





222 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

school; if desired, only a few of the scenes need be pre¬ 
sented. Dr. Martin A. Meyer, Milton Marks, Henry 
Hart (Bloch). 

“The Story of the Jew in America ”, many speaking and 
minor parts; an historical pageant from the voyage of 
Columbus to the present day done in six scenes; if de¬ 
sired, may be cut or adapted. Dr. Maurice H. Harris 
(Bloch). ‘ 

“Jephthah’s Daughter ”, a long one-act play suitable for open- 
air performances; entire school may be included in 
dances and choruses. Elma Ehrlich Levinger (French). 

“The Man with Empty Hands ”, eight boys, three girls, 
minor characters; a pageant play of the Shabuoth pil¬ 
grimage. (Has been reworked into a more ambitious 
spectacle under the title, “A Pageant of Old Israel” 
published by the Bureau of Jewish Education.) Elma 
Ehrlich Levinger (Young Judea). 

“Ruth the Moabitess”, three boys, three girls, minor char¬ 
acters; a play in three scenes which follows closely the 
original story. Janie Jacobson (Bloch). 

“A Girl from Moab”, nine boys, seven girls, minor charac¬ 
ters; a three-act play with plenty of action, based upon 
the familiar narrative. Joseph Leiser (Syn. and Sch. 
Ex.). 

“Ruth—A Harvest Pageant ”, four boys, two girls, many 
minor characters; a pageant play, especially suitable for 
out-of-door performances, with choruses and group 
dances. Eva Herbst (Syn. and Sch. Ex.). 


PROGRAM FOR SHABUOTH 


223 


Model Program for Shabuoth 

I 

Closing Day Exercises 1 

1. Opening Song, “Summer Suns are Glowing”, 

Union Hymnal 196. School 

2. Children’s Service. 

3. Recitation, “The Mezuzah”. Primary Pupil 

4. Historical Tableaux (illustrating the work of the 

various classes). Representatives from every Class 

5. Recitation, “Flower Offering”. Primary Pupils 

6. Song, “There is a Mystic Tie”, Union Hymnal 

138 . School 

7. Reading of Honor Roll, giving of prizes, etc. 

8. Closing Song, “Be With Us as We Leave Thy 

House”, Union Hymnal 45. School 

1 Without special reference to Shabuoth. 

VARIATIONS 

No. 2 should consist of one of the services in the Union Hymnal with 
which the children are familiar (abbreviated if necessary) or the Flower 
Service written by Rabbi I. S. Moses, which may be purchased in pamphlet 
form from Bloch Pub. Co. In case a very short program is desired this num¬ 
ber may be omitted altogether. “The Name of Israel” may be followed or 
replaced by the presentation of flowers and song on page 224. 

No. 4 would, of course, differ in different schools, but in many cases 
the following titles will be found acceptable: 1. “Abraham Tells His House¬ 
hold of the One God.” 2. “Joseph Welcomes His Father to Egypt.” 3. 
“Moses Gives the Ten Commandments.” 4. “Hannah Brings Samuel to 
Eli.” 5. “David Appears Before Saul,” 6. “Solomon Prays in His Newly 
Dedicated Temple.” 7. “Jeremiah Defies the King and Priests.” 8. “By 
the Waters of Babylon.” A group of very fine tableaux may also be taken 
from the life of David. 

No. 5 should be omitted if the longer flower service is used. In its stead 
may be recited: “The Faithful Bride” (page 226); “The Hebrew’s Friday 
Night” (page 227); “Israel” (page 229); “Gifts” (page 231). All of these 
require the comprehension of a Senior. 







224 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

THE MEZZUZAH 

When I was just a little boy, 

Not more than three or four, 

Dad showed me the small wooden box 
That hung at our front door. 

It was a case of olive wood 
And held a tiny roll; 

Dad lifted me that I might see 
God’s name upon the scroll. 

‘‘When great kings sleep”, my daddy said, 

“Their soldiers have to arm 
And stand with swords before the door 

To guard them from all harm. 

0 

“But when a Jew has gone to bed 
Who God’s commandments keeps, 

This is the sign that Israel’s King 
Protects him while he sleeps.” 

—Elma Ehrlich Levinger. 


FLOWER OFFERING 

[ Three little girls stand upon the platform with bas¬ 
kets; as each concludes, she receives flowers from designated 
classes. These are later sent to the hospitals.] 

First Girl (before receiving any flowers): 

Bring flowers, little children, 

Lilies and .roses gay; 

Bring offerings from the meadows 
To grace our holiday. 


PROGRAM FOR SHABUOTH 


225 


Bright marigolds and daisies, 
Those darlings of the spring; 
And violets, shy and fragrant, 
To Judah’s altar bring. 


Second Girl: 

When to the flowers so beautiful 
The Father gave a name, 

Back came a little blue-eyed one— 
(All timidly she came); 

And standing at her Father’s feet, 
And gazing in His face, 

She said in low and trembling tones, 
And with a modest grace: 

“Dear God, the name thou gavest me, 
Alas! I have forgot.” 

The Father kindly looked her down 
And said, “Forget-Me-Not!” 


\ 

Third Girl: 

The flowers fade and perish, 

They die like summer’s grass; 

But when their petals -wither 
Their beauty does not pass. 

For if we give our flowers 
The memory cannot die; 

Their fragrance lives forever, 

Though summer days pass by. 

[The first and third set of verses are original; the sec¬ 
ond, a familiar anonymous poem.] 


—Elma Ehrlich Levinger. 


226 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


THE NAME OF ISRAEL 

[This may he recited by an older pupil or sung by those 
presenting the floral offerings, to the melody of “0, Mother 
Dear, Jerusalem ”.] 

Today we bring our offering, 

To give in word and deed, 

That we may share, give everywhere, 

To those who are in need. 

For we, Thy children, Lord, would be, 

Thy messengers as well, 

And thus would bear, more worthily, 

The name of Israel. 

Thy benediction, Lord, we pray, 

Bless those to whom we give; 

We pledge today, in our small way, 

To serve Thee while we live. 

And by our efforts may we know 
The joy of work done well. 

All homage thus to Thee we show, 

Lord God of Israel. 

—Fannie Barnett Linsky. 

THE FAITHFUL BRIDE 
A Midrashic Parable 

There is a legend (and ’tis quaintly sweet), 

Of man and maid, who loved long, long ago; 

But fate was cruel—they were forced to part, 

And she was left alone in grief and w'oe. 

And she was left alone in grief and woe, 

Nor heeded she their taunts and scornful jeers; 

But in the secret vigils of the night 

His letters read again with many tears. 


PROGRAM FOR SHABUOTH 


227 


Sweet promises, writ to her long ago— 

They warmed her heart, these words of living flame; 
And much men marveled, for her trust proved true; 
With pomp and glory back her lover came. 

“My own”, he said, “why didst thou trust in me, 

When men but mocked—and I away so long?” 

“Dear heart”, she said, “I read thy loving words— 
Read and believed, and so my love grew strong.” 

Wouldst read the moral in my simple lines? 

The bride is Israel; her Beloved, He 
Who ruleth heaven and earth—the Lord our God— 

And she who w T as so sad, shall happy be. 

And He shall say, “0 tender rose of mine, 

Which I have taken back beyond recall, 

What kept alive thy simple faith in Me?” 

“Thy Law, 0 Lord, which was my joy, my all!” 

— Anonymous. 


THE HEBREW’S FRIDAY NIGHT 

Sweet Sabbath-Bride, the Hebrew’s theme of praise, 
Celestial maiden with the starry eyes, 

Around thy head a sacred nimbus plays; 

Thy smile is soft as lucent summer skies, 

Before thy purity all evil dies. 

In wedding robes of stainless sunshine drest, 

Thou dawnest on Life’s darkness and it dies; 

Thy bridal-wreath is lilies, Heaven-blest, 

Thy dowry, Peace and Love and Holiness and Rest. 

For in Thy presence he forgets awhile 

The gloom and discord of man’s mortal years, 

To seek the light that streameth from Thy face, 


228 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

To list Thy tender lullaby, which cheers 
His soul and lies like music on his ears. 

His very sorrows with soft splendour shine, 

Transfigured by a mist of sacred tears; 

He drinks Thy gently-offered Anodyne 

And feels himself absorbed into the peace divine. 

The father from the Synagogue returns, 

(A singing-bird is nestling at his heart); 

And from without the festive light discerns 
Which tells his faithful wife has done her part 
To welcome Sabbath with domestic art. 

He enters and perceives the picture true, 

And tears unbidden from his eyelids start 
As Paradise thus opens on his view, 

And then he smiles, and thanks his God he is a Jew. 

For “Friday night” is written on his home 
In fair, white characters; his wife has spread 
The snowy Sabbath-cloth; the Hebrew tome, 

The flask and cup are at the table’s head; 

There’s Sabbath magic in the very bread, 

And royal fare the humble dishes seem; 

A holy light the Sabbath candles shed, 

Around his children’s shining faces beam, 

He feels the strife of every day a far-off dream. 

His buxom wife he kisses; then he lays 
Upon each child’s young head two loving hands 
Of benediction, so in after days, 

When they shall be afar in other lands, 

They shall be knit to God and home by bands 

Of sacred memory. And then he makes 

The blessing o’er the wine; and while each stands, 

The quaintly convoluted bread he breaks, 

Which tastes to all tonight more sweet than honeyed cakes. 


PROGRAM FOR SHABUOTH 


229 


And now they eat the Sabbath meal with laugh 
And jest and gossip till all fun must cease, 

While father chants the grace, all singing half, 

And then the Sabbath hymns of Love and Peace 
And Hope from alien lands to find release. 

No evil can this night its head uprear, 

Earth’s joys loom larger and its ills decrease; 

Tonight of ghosts the youngest has no fear— 

Does not his guardian Sabbath Angel hover near? 

So in a thousand squalid Ghettos penned, 

Engirt yet undismayed by perils vast, 

The Jew in hymns that marked his faith would spend 
This night, and dream of all his glorious past, 

And wait the splendors by his seers forecast. 

And so while mediaeval creeds at strife 
With nature die, the Jew’s ideals last— 

The simple love of home and child and wife, 

The sweet humanities which make our higher life. 

—Israel Zangwill. 


ISRAEL 

How great, 0 Israel, have thy sufferings been 
Since doomed in every land and clime to roam, 

An exile and a wanderer on the earth, 

Without a country and without a home! 

Throughout the world men scorned the Hebrew’s faith— 
That holy creed of origin divine; 

They stamped as crime his sacred, pure belief, 

And mocked his worship at Jehovah’s shrine. 

And Israel, once a nation proud and great, 

From whom sprang sages, kings and prophets grand, 

Earth’s mightiest race, the chosen of the Lord, 

Was mocked and scorned and jeered in every land! 


230 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


In sunny Spain the Inquisition dread 
Cast him in dungeons terrible and dire, 

And with a thousand tortures racked his form, 

Then led him forth unto the death of. fire. 

Where’er the Hebrew roamed, on land or sea, 

Did persecution follow in his path, 

And furious mobs deemed it a noble act 

To vent on him their hatred and their wrath. 

Ten thousand martyrs died for Israel’s cause 
With fortitude sublime, ’mid smoke and flame; 

And while their cruel foes stood mocking ’round, 

They called on God and blessed His sacred name! 

Through all the horrors of that fearful time, 

Through gloom and death, the Hebrew saw afar, 
With faith’s unfailing and undying eye, 

Beyond the clouds, hope’s bright and glorious star. 

He knew that God would rise ’gainst Israel’s foes 
As, long ago, upon the Red Sea coast, 

With miracles He saved His chosen race, 

And in the sea ’whelmed Pharaoh’s mighty host. 

And gloriously was that bright trust fulfilled, 

For Israel triumphed over every foe, 

And marching on with undiminished zeal, 

Emerged in triumph from the night of woe. 

Yes, Judah proudly stands, ’midst all mankind, 

Once more as beautiful, sublime, and grand 
As when, in blessed days of old, she stood 
A mighty nation in the Holy Land. 

Weep not, 0 Israel, for thy martyred ones, 

For though no monuments rise o’er their tombs, 

Yet fame upon the sacred spot shall shed 

Her fairest garlands and her brightest blooms. 


PROGRAM FOR SHABUOTH 


231 


Their names are grav’n on honor’s deathless page, 

And on the scroll of glory written high; 

And though earth’s proudest monuments decay, 

Their deeds sublime will never, never die! 

Mourn not, 0 Israel, for the glorious past; 

The future holds a destiny more grand; 

For ’tis thy mission great to teach God’s laws 
To the inhabitants of every land. 

And cause the nations of the world to know 
That unto Him alone shall prayers ascend, 

And that before His great majestic throne 
All men in reverent suppliance shall bend. 

Ah! may the time soon come when o’er the earth 
In thunder tones the glad acclaim will ring, 

And nations, taking up the shout, shall cry: 

“The God of Judah is our Lord and King!” 

—Max Meyerhardt. 


GIFTS 

“Oh, world-god, give me Wealth!” the Egyptian cried. 
His prayer was granted. High as heaven, behold 
Palace and Pyramid; the brimming tide 
Of lavish Nile washed all his land with gold. 

Armies of slaves toiled ant-wise at his feet; 
World-circling traffic roared through mart and street; 

His priests were gods; his spice-balmed kings enshrined, 
Set death at naught in rock-ribbed channels deep. 

Seek Pharaoh’s race today, and ye shall find 
Rust and the moth, silence and dusty sleep. 


232 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

“Oh, world-god, give me Beauty !” cried the Greek. 

His prayer was granted. All the earth became 
Plastic and vocal to his sense; each peak, 

Each grove, each stream, quick with Promethean flame, 
Peopled the world with imaged grace light. 

The lyre was his, and his the breathing might 
Of the immortal marble; his the play 
Of diamond-pointed thought and golden tongue. 

Go seek the sunshine race, ye find today 
A broken column and a lute unstrung. 

“Oh, world-god, give me Power!” the Roman cried. 

His prayer was granted. The vast world was chained 
A captive to the chariot of his pride. 

The blood of myriad provinces was drained 
To feed that fierce, insatiable red heart. 

Invulnerably bulwarked, every part, 

With serried legions and with close-meshed Code; 

Within, the burrowing worm had gnawed its home; 

A roofless ruin stands where once abode 
Th* imperial race of everlasting Rome. 

“Oh, Godhead, give me Truth!” the Hebrew cried. 

His prayer was granted. He became the slave 
Of the idea, a pilgrim far and wide, 

Cursed, hated, spurned and scourged, with none to save. 
The Pharaohs knew him, and when Greece beheld 
His wisdom wore the hoary crown of Eld. 

Beauty he hath foresworn, and Wealth and Power. 

Seek him today, and find in every land; 

No fire consumes him, neither floods devour— 

Immortal through the lamp within his hand. 


—Emma Lazarus. 


PROGRAM FOR SHABUOTH 


233 


Model Program for Shabuoth 

II 


1. Prologue . Primary or Intermediate 

2. Song, “Behold it is the Springtide of the Year”, 

Union Hymnal 162 . School 

3. Recitation—A Shabuoth Legend.. Intermediate or Senior 

4. Tableau—The Ten Commandments, 

Primary or Intermediates 

5. Song, “Unveil Mine Eyes that of Thy Law”, 


Union Hymnal 102. School 

6. Play, “Ruth of Moab”. 

7. Closing Song, “Father, Let Thy Blessing”, 

Union Hymnal 46. School 

VARIATIONS 


For No. 3, any of the following, appropriate for Seniors or Intermediates, 
may be substituted: “Abram and Zimri” (page 239); “A Story for Sha¬ 
buoth” (page 241). 

If no Ruth play is given for this program, for No. 4 may be substi¬ 
tuted the Sinai epsiode from the author’s Pageant, “Let There Be Light,” 
“The Slave from Egpyt” (see list of Shabuoth plays) or “For Love of Torah” 
(page 242). 

If the tableau is given, the following recitation may be substituted for 
No. 5: “Father, See Thy Suppliant Children” (page 245). 

For No. 6 in its simplest form, may be substituted one of the other 
versions already listed. In many cases it will be found practical to en¬ 
courage the children of the highest classes to prepare their own dramatiza¬ 
tions, which the teacher may combine and revise. (See the play of Ruth 
in the Appendix written by children of twelve and thirteen, with the ex¬ 
ception of the introductory verses.) If it does not seem desirable to present 
a play, a series of tableaux from the Book of Ruth may be presented, fol¬ 
lowed by Gaul’s solo, “Entreat Me Not to Leave Thee” or one of the follow¬ 
ing recitations: “Ruth” (page 246); “Ruth and Naomi” (page 247). 






234 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

PROLOGUE FOR SHABUOTH 

[To be given as the first number of a Sliabuoth enter 
tainment .] 

% 

In far-off: days when our Jerusalem 

Was as a queen of cities, and her fame 
Filled stranger kings with envy, pilgrims glad 
Unto her golden gates with offering came. 

First fruits they bore—the firstlings of the flock, 

The first fruits of the ploughed field and the tree— 
And laid them on the altar of our God 
In olden days—but what today bring we? 

No fruits have we to bring—no lambs—no doves— 

Yet we this votive feast with singing greet; 

Though Israel no longer seeks her shrine 
To lay her offerings at her Maker’s feet. 

We children are the “first fruits”, and today 
We lay our lives on Israel’s hallowed shrine, 

And pray: “Oh, Holy One, receive our hearts: 

Bless Thou our toil for Israel—make it Thine!” 

—>Elma Ehrlich Levinger. 
SHABUOTH 

’Twas at our Cheder, just last week, 

I learned about Shabuoth; 

Our teacher said if we were still 
He would explain it to us. 

Then we were just as still as mice— 

We like to hear a story, 

And best of all are those, of course, 

That tell of Israel’s glory. 


PROGRAM FOR SHABUOTH 


235 


Shabuoth is the Feast of Weeks— 

You’ll find with careful counting, 

From first of Pesach to this time— 

The weeks to seven amounting. 

And teacher told us how the Jews 
Were in the desert tramping, 

And w T hen they came to Sinai’s Mount 
They rested there for camping. 

But when they heard the Shofar sound, 

And saw the mountain shaking 
And smoking like a furnace, too, 

With fear they all were quaking. 

Then Moses climbed the mountain-side 
And soon from sight was hidden, 

While they remained at Sinai’s foot 
As they, by God, were bidden. 

“Our Leader’s been so long up there”, 

The people were declaring, 

When down the mountain Moses came, 

The Ten Commandments bearing. 

So that is why we keep this day, 

Because on it were given 
Those Ten Commandments that God wrote 
Upon the sixth of Sivan. 


—Miriam Myers. 


236 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


A SHABUOTH LEGEND 

When spring flushed all the fields of Palestine 
With living beauty till they sang to God, 

The men of Judah crossed their ancient hills 
With goodly fruits unto Jerusalem, 

To lay upon the altar of the Lord. 

Then Reuben called to him his only son, 

Ephraim, a lad just come to fourteen year, 

Called him unto his couch and spake with him: 
“Ephraim, since thou wast a little child 
Thou hast gone with me to Jerusalem 
To keep the Shabuoth feast our fathers knew. 
Today I lie upon a bed of pain 
And cannot place my foot upon the floor; 

How can I journey to Jerusalem? 

Thou knowest, too, how lean the year has been: 
How all the lambs did with their mothers die, 
How hail and frost shed blight upon our fields; 
No offering have I, neither lamb nor grain, 
Naught but this fruit to give unto the Lord. 

Yet He will not reject the humble gift 
Of one who thanks Him even in his pain! 

Go thou, my son, and take thy shoes and staff, 

And go alone unto Jerusalem 

And place my tithe before the living God, 

Who sendeth both the harvest and the blight.” 
Thus Reuben spoke, and kissed the boy with tears. 

The morning rose above the dewy hills, 

And Ephraim, with traveler’s staff in hand, 

His fruits within a basket on his arm, 

Bedeck’d with leaves to w r ard the noonday sun, 
Took the white road unto Jerusalem. 


PROGRAM FOR SHABTJOTH 


237 


The brown birds sang a welcome as he came; 

The sun rose in his glory like a king, 

And all the world was as a garden fair, 

A-flush with spring beneath the stainless sky, 

And Ephraim’s heart sang happy songs to God. 

But as he neared the towers of that place 
Where David dwelt, our own beloved king, 

The day grew chill with horror, and the birds 
Seemed dumb as the sick heart within his breast, 

For in his path a cringing leper stood. 

Rags clothed his shaking limbs; his hopeless eyes 
Glared at the boy and made him sore afraid, 
Although his voice was gentle when he spoke: 

“My lad, though one of Israel, all these years 
Set by my sickness as a thing apart, 

I have not dared to seek the holy place 
E’en when my brethren sacrified to God. 

But yester as I slept beside the rock 
In yonder woods, a vision came to me, 

And with my ears long-dulled I heard Him speak. 

“ ‘My son’, thus spoke the Lord, ‘hast thy poor soul 
Grown bitter toward me in thy lonely pain, 

That thou no longer comest with gifts to me, 

With offerings from the press and tree and field?’ 
And Him I answered, strangely unafraid: 

‘But Lord, can I, a leper sore-accursed,' 

Mingle with men and worship in Thy shrine?’ 

He answered kindly: ‘Seek and thou wilt find. 

For I, too, dwell beneath the open sky 
As well as in My Temple on the hill. 

Build thou an altar to Me in the wood, 

Where I will heed thy loving sacrifice.’ 

But I in shame: ‘0 Lord, what grain have I, 

What wine and oil, what fruit from mine own tree? 
How can I bring Thee worthy sacrifice?’ 


238 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

He answered: ‘Is there aught too hard for Me? 

Build thou the altar and I will provide 
A sacrifice by sunrise.’ Then I woke 
And, half-asleep, did falter till I came 
To thee, my lad, with offerings on thine arm. 

Give me thy fruit, that I may place it straight 
Upon my altar as He gave command!” 

But Ephraim answered: “Can I give it thee, 

When I now journey to Jerusalem 
To lay before the Lord my sacrifice?” 

“Child”, said the leper, “I am old and sad; 

Rob me not of the joy of serving Him; 

Give me thy fruits—for He will understand.” 

Then Ephraim, with pity in his heart, 

Placed his dear fruit beside the dusty road 
(Knowing he dared not touch the leper’s hand), 

And, with his empty basket on his arm, 

Journeyed until he reached Jerusalem. 

And there he stood before the waiting priest, 

His tanned face hot with shame, his eyes cast down; 
He tried to stammer how he loathed to come 
With empty hands unto the House of God; 

But in surprise the priest did answer him: 

“My lad, thy basket well-nigh overflows 

With fruit so fresh and fragrant one might deem 

It grew within the garden of the Lord: 

Such fruit I never saw on earthly tree.” 

And Ephraim, gazing on his basket, saw 
That it was filled with fruit all dewy sweet— 

Such fruit as never graced his father’s trees. 

Then Ephraim gave his offering to the Lord, 

And took his staff in hand and journeyed home, 

And as he went his heart sang songs to God. 

—Elma Ehrlich Levinger. 


PROGRAM FOR SHABUOTH 


239 


ABRAM AND ZIMRI 

Abram and Zimri owned a field together— 

A level field hid in a happy vale; 

They plowed it with one plow, and in the spring 
Sowed, walking side by side, the fruitful seed. 

In harvest, when the glad earth smiled with grain, 
Each carried to his home one-half the sheaves, 

And stored them with much labor in his barns. 

Now Abram had a wife and seven sons 
But Zimri dwelt alone within his house. 

One night, before the sheaves were gathered in, 
As Zimri lay upon his lonely bed 
And counted in his mind his little gains, 

He thought upon his brother Abram’s lot, 

And said: “I dwell alone within mv house, 

But Abram hath a wife and seven sons, 

And yet we share the harvest sheaves alike; 

He surely needeth more for life than I; 

I will arise and gird myself, and go 

Down to the field, and add to his from mine.” 

So he arose, and girded up his loins, 

And went out softly to the level field. 

The moon shone out from dusky bars of clouds, 

The trees stood black against the cold blue sky, 

The branches waved and whispered in the wind. 

So Zimri, guided by the shifting light, 

Went down the mountain path and found the field, 
Took from his store of sheaves a generous third, 
And bore them gladly to his brother’s heap, 

And then went back to sleep and happy dreams. 

Now, that same night, as Abram lay in bed, 
Thinking upon his blissful state in life, 

He thought upon his brother Zimri’s lot, 


240 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

And said: “He dwells within his house alone, 

And goeth forth to toil with few to help, 

And goeth home at night to a cold house, 

And hath few other friends but me and mine” 

(For these two tilled the happy vale alone) — 

“While I, whom Heaven hath very greatly blessed, 
Dwell happy with my wife and seven sons, 

Who aid me in my toil, and make it light, 

And yet we share the harvest sheaves alike. 

This surely is not pleasing unto God; 

I will arise, and gird myself, and go 
Out to the field and borrow from my store, 

And add unto my brother Zimri’s pile.” 

So he arose and girded up his loins, 

And went down softly to the level field; 

The moon shone out from silver bars of clouds, 

The trees stood black against the starry sky, 

The dark leaves waved and whispered in the breeze; 
So Abram, guided by the doubtful light, 

Passed down the mountain path, and found the field, 
Took from his store of sheaves a generous third, 

And added them unto his brother’s heap; 

Then he went back to sleep and happy dreams. 

So the next morning, with the early sun, 

The brothers rose, and went out to their toil; 

And when they came to see the heavy sheaves, 

Each wondered in his heart to find his heap, 

Though he had given a third, was still the same. 

Now the next night went Zimri to the field, 

Took from his store of sheaves a generous share 
And placed them on his brother Abram’s heap, 

And then lay down behind his pile to watch. 

The moon looked down from bars of silvery clouds, 
The cedars stood up black against the sky, 

The olive branches whispered in the wind. 


PROGRAM FOR SHABUOTH 


241 


Then Abram came down softly from his home, 

And, looking to the right and left, went on; 

Took from his ample store a generous third, 

And laid it on his brother Zimri’s pile. 

Then Zimri rose and caught him in his arms, 

And wept upon his neck, and kissed his cheek; 

And Abram saw the whole, and could not speak; 

Neither could Zimri, so they walked along 

Back to their homes, and thanked their God in prayer 

That He had bound them in such loving bands. 

—Clarence Cook . 

[“From 100 Choice Selections”, No. 8. Used by permis¬ 
sion of the Penn Publishing Company, Philadelphia.] 

A STORY FOR SHABUOTH 

An old Hebrew story tells us how a poor man one day 
came to the Temple from a sick bed on tottering limbs. He 
was ashamed to come, for he was very poor and had no sacrifice 
to offer. As he drew near, he heard the loud choir chanting: 
“Thou desirest not sacrifice, else would I give it; the sacri¬ 
fices of God are a broken spirit; a broken and contrite heart, 
0 God, thou wilt not despise.” Other worshippers came, 
passed before him and offered their sacrifices; but he had 
none. But at length he respectfully prostrated himself be¬ 
fore the priest, who said: “What wilt thou, my son; hast 
thou an offering?” And he replied: “No, my father, for 
last night a poor widow and her children came to me, and 
I had nothing to offer them but the two pigeons which were 
ready for the sacrifice.” “Bring, then”, said the priest, “an 
ephah of fine flour.” “Nay, but, my father”, said the old 
man, “this day my sickness and poverty have left only 
enough for my starving children. I have not even an ephah 
of flour.” “Why, then, art thou come to me?” said the 
priest. “Because I heard them singing: ‘The sacrifices of 
God are a broken spirit.’ Will He not accept my sacrifice if 


242 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

I say, ‘Lord be merciful to me a sinner’ ?” And the priest 
lifted the old man from the ground, and he said: “Yes, 
thou art blessed, my son; it is thy offering which is better 
than thousands of rivers of oil.” 

— Adapted. 

SHABUOTH TABLEAU—THE LAW 
[Adapted from Mrs. M. H. Heniger ] 

This tableau may be given by arranging ten little girls 
in two lines of five each (gradually diminishing in size) be¬ 
fore two ironing-boards covered with white. The first two 
girls kneel, the next two kneel on low stools, the third stand, 
the fourth stand on low stools, the fifth on higher stools, 
each behind the other. The children are dressed in white 
flowing robes, with white bands about their loose hair, each 
band decorated by a large blue Roman numeral. The two 
children nearest the boards have I and VI, the next two II 
and VII, etc. As the curtains are drawn each child either 
recites to music or chants her commandment. The line may 
be given in Hebrew or English, and it will be well to ar¬ 
range a chorus that at the close may sing the familiar 
“May the words of my mouth”, etc. 

FOR LOVE OF TORAH 
Scene One 

[Rabbi Akiba and Pappus. Akiba is seated on the 
ground, studying in a big old Hebrew Tome. Pappus stands 
behind him. Both have long, -flowing, light-colored robes, 
beards and caps.] 

Pappus : Rabbi Akiba, dear, dear friend, 

Will not your courage ever end, 

And prudence take its place awhile? 

Were I not weeping, I could smile 
To see you love the Torah so 
That Roman laws you do not know. 


PROGRAM FOR SHABUOTH 


243 


Akiba: I know the Roman laws indeed— 
Therefore I study with such speed 
They say: Who studies Torah, dies. 

Pappus : Rabbi Akiba, is it wise 

For Torah’s sake that you should die 
And leave us others—such as I— 

All your students here, indeed, 
Without a teacher in their need? 

Not so do I. In Roman grace 
I will retain an honored place, 

Not less a Jew because I try 
To live a Jew, and not to die. 

Akiba: Pappus, my friend, as you think good 

So do. As for my hardihood, 

It is but common sense, that’s all. 

A little story I recall 
Of little fishes in a stream. 

To them said Mr. Fox: “You seem 
Contented there, but bigger fish 
Will make of you a toothsome dish. 
Therefore, I beg you, friends, arise! 
Live with me on dry land! Be wise!” 
The fish replied: “Your kind advice 
We cannot take. The land is nice, 

And danger’s here on every hand, 

But fishes cannot live on land.” 

[ rising] 

So, Pappus, Jews without their law 
Are no more Jews. You know I saw 
Bar-Kochba’s rise and fall; I know 
The height of hope, the depth of woe, 
And this I know beyond all doubt: 
Torah we cannot live without! 

Our liberty, our tongue, our land— 
The Torah bears them in her hand. 


244 JEWISH FESTIVALS IN THE RELIGIQUS SCHOOL 


The Torah says: “Hold fast to me 
And once again you shall be free.” 
The Torah is the holy rod 
That works the miracles of God. 
Therefore, dear Pappus, though I die, 
The Torah lives—and what am I? 

As for your safety—pray beware— 
The land is safe, but Fox is there. 

(Curtain) 


Scene Two 


[Rabbi Akiba walking to and fro in his cell awaiting 
execution. He has chains on his hands and feet and his 
clothes are tattered .] 

Akiba (with face uplifted ): 

I thank thee, Lord, that now I will 
Have power Thy Torah to fulfil. 

Never before could I aright 

Love Thee with heart and soul and might. 

But now by death that mighty love 
With this poor body I will prove. 

[Enter Pappus, also with chains and disheveled] 


Aiciba : 
Pappus: 
Akiba : 
Pappus: 


Akiba : 


Pappus! a prisoner! No! But why? 

Akiba, I am doomed to die. [weeps] 

It grieves me much. What was the cause? 

I broke some trivial Roman laws, 
Unknowingly, no matter how— 

I envy you, Akiba, now! 

You envy me? But what have I? 

I’ll give you all before I die. 


PROGRAM FOR SHABUOTH 



Pappus: 


Akiba : 
Pappus: 
Akiba : 
Pappus: 


Akiba : 


> 


Then give—for death a noble cause, 

Your loyalty to Jewish laws, 

Your fearlessness, your faith divine! 

Those are the Torah’s, and not mine. 

Akiba, how I envy you! 

I am your friend, what can I do? 

Nothing! Still of myself I think! 

Give me the Torah; let me sink 
Into the living stream, where dwell 
The Jews who live and die so well! 

The Fox has caught me on dry land, 

And now, too late, I understand! 

Never too late! You still must die, 

For some few' hours still you and I 
Can sit down here, together, friend, 

And speak of Torah to the end. 

[They sit dozen together. Curtain falls ] 

—Jessie E. Sampter. 


FATHER, SEE THY SUPPLIANT CHILDREN 

Father, see thy suppliant children 
Trembling stand before Thy throne, 

To confirm the vow of Horeb: 

“We will serve the Lord alone.” 

Thy command shall be engraven 
On the tablets of our heart, 

Till the heart in death be broken, 

Till the cord of life shall part. 

As a sheltering cloud at noontide, 

As a flaming fire by night, 

Through prosperity and sorrow 
It will guide our steps aright. 


246 JEWISH FESTIVALS IN THE EELIGIOUS SCHOOL 


Till we reach the Land of Promise, 

When the toils of earth are past, 

Till we sleep the sleep eternal 
In the realms of peace at last. 

—Felix Adler. 


RUTH 

She stood breast-high amid the corn, 
Clasped by the golden light of morn, 
Like the sweetheart of the sun 
Who many a glowing kiss had won. 

On her cheek an autumn flush 
Deeply ripened—such a blush 
In the midst of brown was born 
Like red poppies grown with corn. 

Round her eyes her tresses fell— 
Which were blackest none could tell; 
But long lashes veiled a light 
That had else been all too bright. 


And her hat, with shaded brim, 
Made her tressy forehead dim— 
Thus she stood among the stooks, 
Praising God with sweetest looks. 


Sure, I said, Heaven did not mean 
Where I reap thou shouldst but glean; 
Lay thy sheaf adown and come, 

Share my harvest and my home. 


Thomas Hood. 


PROGRAM FOR SHABUOTH 


247 


RUTH AND NAOMI 

Entreat me not to leave thee, mother dear, 

Nor to return from following after thee, 

For thou henceforth must learn to lean on me; 
And when thou callest I shall ever hear. 

Where’er thou goest, thou shalt find me near, 

And where thou lodgest, there my lodge shall be. 
The God thou lovest—e’en my God is He, 

And ’neath His wings what danger can I fear? 
Where thou, my mother, diest, will I die, 

And in our deaths our love shall bind us still, 

For where they bury thee, there will I lie; 

To be with thee forever is my will. 

Ah! may thy God deal heavily with me, 

If even death doth part thy Ruth from thee! 

—Elma Ehrlich Levinger. 


248 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


Model Program for Shabuoth 

III 

1. Opening Song, “God of Israel, Keep Us Faithful”, 


Union Hymnal 206. School 

2. Brief Story of the Pageant. Rabbi or Teacher 


3. Pageant. Primary, Intermediate, Senior Divisions 

4. Closing Songs, “En Kelohenu” (246) and “America” 

226 . Audience 


VARIATIONS 

No. 3. If an elaborate pageant summing up something of the year’s historical 
teaching is desired the author’s “Let There Be Light” or “God Is One” will 
be found appropriate. In Dr. Harris’s pageant the incidents deal with the 
history of the Jew in America. If a pastoral pageant suitable for Shabuoth 
is contemplated, Miss Herbst’s pageant play or the author’s “Ruth of Moab” 
(with the introduction of songs and harvest dances as suggested in the 
Notes to the Producer) should be found most desirable. 






APPENDIX 


. 



















































*■ 
































. 






I 

















APPENDIX 


Original Pantomime Burlesque of Purim Story for Purim 
Parties— Elma Ehrlich Levinger 

Judas the Maccabee. Richard David Goldstone 

Play of Ruth, 

Written by Children of Isaiah Sabbath School, Chicago 


APPROPRIATE ENTERTAINMENT FOR 
PURIM PARTY 

ESTHER IN SHADOWLAND 
A Pantomime Burlesque for Purim 
By Elma Ehrlich Levinger 

[Note: The actors all appear behind a sheet with a 
lamp so arranged that their shadows are thrown against it 
in bold relief. They should be instructed to exaggerate their 
gestures and postures as much as possible. Makeshift cos¬ 
tumes producing absurd effects on the screen should be worn; 
e. g., Ahasuerus should wear a very tall crown, Haman a 
long train to his costume, which will continually trip him, 
etc. The burlesque effect will be heightened if “incidental” 
music is played—“creepy music” for entrance of Haman as 
villain, a stirring march for the king, “Hearts and Flow¬ 
ers”, or something closely akin, for Esther. It may be found 
necessary, in some cases, to omit scenes YI and VII, which 
are inclined to drag unless very well played.] 

251 



252 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

Scene I.—King, Haman, courtiers enter. All bow to king. 
Raise huge goblets which they pretend to drain. Haman 
points off stage. King nods and taps courtier on shoul¬ 
der. He bows and exits. All exeunt. 

Scene II.—Vashti enters with several maids quarreling to 
carry her train. Looks in mirror one holds before her, 
while other powders her face for her. Courtier enters, 
kneels, begs her to follow him to feast. She refuses, 
leaves haughtily, followed by her maids. 

Scene III.—Enter king and court. Enter courtier. Tells of 
Vashti’s refusal to come. King’s rage. Sends messen¬ 
ger off for crown. Courtier enters carrying Vashti’s 
crown. King points to it, and sends out courtiers to 
find new queen. 

Scene IV.—Enter king and court. He sits on throne, as¬ 
sisted by Haman. Maidens pass before them, each in 
turn bowing low, Esther last. King waves off each in 
turn, sees Esther, shows joy, rushes down and seizes her 
hand. Puts crown on her head. Rejoicing. Exeunt. 

Scene Y.—Courtiers enter a little after Haman in solemn 
march. All march about him, bowing very low. He in¬ 
clines his head haughtily. They leave. Enter Mordecai, 
who attempts to pass him. Haman orders him to bow. 
Mordecai passes him, nose in air. Haman shakes his fist 
after him; leaves stage in great anger. 

Scene YI.—King and attendants enter. He yawns and 
stretches; sits on throne; orders attendant to read to 
him. Suddenly shows much interest. Enter Haman, 
who bows low to king. King asks how he can raise a 
certain man high above the people. Haman turns aside 
and points to himself complacently. Suggests that such 
a man should wear the king’s crown and robe and ride 
his horse. King tells him to seek Mordecai, who is to 


APPENDIX 


253 


be so honored. Haman leaves in great rage. Others 
follow, laughing. 

Scene VII.—Courtiers enter and bow before Mordecai, wear¬ 
ing king’s robe, etc. Haman follows in great rage, shak¬ 
ing his fist at Mordecai. 

Scene VIII.—King enters; sits on throne. Haman enters; 
shakes hands with king—then remembers his position 
and kneels; shows him bag of gold; makes gesture of 
sweeping Jews out of kingdom. King nods languidly 
and gives him ring. They go off: arm in arm. 

Scene IX.—Esther enters with two maids. One reads to 
her as she sits, one fans her. Mordecai enters, beating 
his breast and tearing his hair. Esther comes to him 
and shows surprise. They go off lamenting together; 
the maids follow, weeping. 

Scene X.—King and court enter, Haman strutting last. 
King sits on throne. Esther enters, but hesitates at en¬ 
trance, even fainting in the arms of her two attendants. 
King holds out his scepter, which she seizes as she 
kneels before him. He offers her gifts—his crown and 
chain. She shakes her head, points to Haman and de¬ 
nounces him. King threatens Haman with scepter. The 
courtiers seize him and drag him off. Mordecai enters. 
King gives him a ring. All go off rejoicing. 


254 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


JUDAS THE MACCABEE 

How every heart must swell to be 
As great as Judas Maccabee; 

When Antiochus, the tyrant king, 

Expected the Jews his praise to sing, 

Then up came Judas and his band, 

And blew the trumpet through the land; 

The Jewish people, far and wide, 

Flocked in scores to the leader’s side. 

The motto on the banners ran, 

“The Lord is with me, I fear no man.” 

Behind the bushes and the trees 
And shrubs then ran the Maccabees. 

Then came the Greeks, and, glad to tell, 

The Jews they fought, and the Greeks they fell; 

So follow this motto if you can, 

“The Lord is with me, I fear no man.” 

—Richard David Goldstone, 

(9 years), Temple Emanu El Sabbath School, New York. 


APPENDIX 


255 


RUTH—A STORY OF THE HARVEST 
A Play in Three Acts 

By Leona Bachrach, Charles Pesorowsky and Eugene Solomon 

Cast of Characters: 

Ruth. A Moabite Girl 

Naomi . A Widowed Mother 

Orpah. Sister-in-law of Ruth 

A Woman of Bethlehem 

Boaz. A Wealthy Farmer 

A Kinsman to Ruth’s Husband 
First Reaper. 

Second Reaper. 

Third Reaper. 

Joseph . A Messenger 

An Old Man 

Prologue i 1 

Leave this gray city with its greed and grime 
To view the story of an ancient time; 

No longer do the engines pant and roar, 

We hear the clamor of the streets no more— 

The fields are smiling ’neath the harvest sun, 

From moss-green rocks cool rills of water run; 

The birds are singing from the grateful leaves, 

The sun-browned reapers bend above the sheaves; 

And in this pleasant Land of Long Ago, 

We modern Jewish children mean to show 
How steadfast Ruth, her weary wanderings past, 
Found love and peace and plenty at the last. 

Act I 

[Scene— The Land of Moab ] 

Naomi {alone) : I am no longer happy since my sons 
and husband have died. If there had been no famine, they 


1 Written by the teacher. 







256 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

would be living yet. My daughters-in-law have been upset, 
too. Why! Here they come now. [ Enter Ruth and Orpah ] 
I am going back to Bethlehem. I don’t feel at home here. 
Return, my daughters, and may the Lord deal kindly with 
you, as ye have dealt with the dead and with me. 

Ruth (weeping): Oh, mother! Let me stay with thee! 
I will return with thee., 

Orpah: Yea! I too go where my mother goeth. 

Naomi: Nay. Have I more sons to be husbands for 
you? Go where ye came from and start a new life. Marry 
again, and don’t talk about my sons. Just remember their 
names. 

Orpah: We will return to thy native land with thee. 

Naomi : No, my daughters; turn again, go your way. It 
grieveth me much for your sakes that the hand of the Lord 
hath gone forth against us. 

Orpah (kissing her) : Good-bye, 0 mother, I will go 
my way; yea, return to my people as thou hast bidden me. 
Good-bye. [Exit] 

Naomi: Behold! Thy sister-in-law is gone back unto 
her people and unto her gods. Return thou after thy sister- 
in-law. 

Ruth: Entreat me not to leave thee or to return from 
following after thee; for whither thou goest, I will go; and 
where thou lodgest, I w r ill lodge; thy people shall be my 
people, and thy God my God. Where thou diest, I will die, 
and there will I be buried; the Lord do so to me, and more 
also, if aught but death part thee and me. 

Naomi: Thou art but a child, but alas, thou shalt re¬ 
turn to my birthplace, and we will die in peace. 

Ruth: Blessed art thou for the gentle words that come 
from thy lips. [ Exeunt Ruth and Naomi] 

(END OF ACT I) 


APPENDIX 


257 


Act II 

[Scene— Bethlehem. A field wherein reapers are at work 

gathering the grain. Enter Naomi and Buth.] 

Woman: Is this Naomi? 

Naomi : Call me not Naomi, which is pleasant, but 
Mara, the bitter, seeing that the Almighty hath given bitter¬ 
ness to me. I went out full, but the Lord brought me back 
empty. 

Ruth: Dear mother, it is of no use to bemoan our 
fate. I will stay in this field and gather the gleanings which 
the Almighty has preserved for us. 

Naomi : Stay, then, my child, and God be with thee. 

[Exit Naomi] 

First Reaper : *Tis said our master, Boaz, will visit our 
field today. He should be pleased, for never was there a 
better harvest. 

Second Reaper: He deserves his good fortune, for he 
is as generous as he is rich. 

Third Reaper : Is not that woman who left of his kin¬ 
dred? 

Woman: Ay! She is Naomi, whose husband and sons 
have left her desolate in her old age. 

Boaz ( entering ): The Eternal be with thee this fair 

day. 

Reapers: The Eternal bless thee and shield thee from 
all harm. 

Boaz: How cometh this maiden here who picketh up 
the sheaves of barley and stray ears of wheat ? 

Fourth Reaper: She has just*come, and we were loath 
to drive her aw*ay. 


258 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

First Reaper: ’Tis a Moabite maiden. 

Second Reaper: Yea, who is kin to Naomi. 

Third Reaper: And ’tis said has lost her husband. 

Boaz : Come hither, maiden. Have no fear. 

Ruth : Let me glean, I pray thee, and gather after the 
reapers among the sheaves. 

Boaz: Thou dost not need to wander through this field, 
but rest, as I have heard thou art kindred to me. Break 
bread with me, and when thou art athirst go unto the ves¬ 
sels and drink of that which the young men have drawn. 

Ruth ( falling on her knees ): Why have I found favor 
in thy sight? I am a stranger to thee. 

Boaz: It hath fully been showed to me all that thou 
hast done unto thy mother-in-law since the death of thy 
husband in the land of thy nativity, and how thou hast come 
unto a people that thou knewest not heretofore. 

Ruth: Let me find favor in thy sight, my lord, for 
that thou hast comforted me and for that thou hast spoken 
friendly unto thine handmaid, though I be not like one of 
thine handmaidens. 

Boaz: Bring thou the vail thou hast upon thee, and I 
will fill it with six measures of barley. [Gives her the bar¬ 
ley and turns to the reapers] Let her glean even among the 
sheaves and reproach her not. And also pull out some for 
her from the bundles, and let her glean, and rebuke her not. 

Ruth: Praised be the God of Israel, who hath caused 
thee to be gracious unto thy poor handmaiden! [Exit Ruth] 
[Boaz looks after her. The reapers resume work] 


(END OF ACT II) 


APPENDIX 


259 


Act III 

[Scene— Bethlehem; the City Gate] 

Naomi ( entering ): It is past sunset, and Ruth has not 
returned. Here she comes now, tired from the day’s work. 
[Ruth enters ] What has happened, my daughter? 

Ruth ( showing her vail): These six measures of bar¬ 
ley gave Boaz to me. And he spake kindly and bade me 
break bread with him. 

Naomi : Be at rest, my daughter. The man will not be 
in rest until he has finished the thing this day. [ Exeunt 
Ruth and Naomi] 

Boaz ( enters and sits by the gate) : How generous, 
courageous and faithful thou art to thy mother-in-law, sweet 
Ruth. I would like thee for my wife. The reapers have 
left some corn and barley for thee this day, that thou and 
thy mother need not go hungry. [Calls] Joseph! 

Joseph (entering) : What wilt thou, master? 

Boaz: Go thou into the city and get the elders of the 
city and also the kinsman of Ruth. 

Joseph: My feet are like wings. [ Exit Joseph] 

Boaz: It is a law in Israel that if I buy the inheritance 
of Ruth’s husband, instead of the next of kin buying it, I 
shall be free to marry her. [Enter Ruth] The Eternal be 
with thee. 

Ruth : The Eternal be with thee also. 

Boaz: Wilt thou marry me, Ruth? 

Ruth: Yea, would I answer anything else when thou 
hast given us everything that makes life? 

[Enter Naomi, kinsman, people of Bethlehem] 

Boaz (to kinsman) : Wilt thou buy the land of Ruth 
the Moabitess, the wife of the dead, and take her to wife, 
since thou art next of kin? 


260 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 

Kinsman: I cannot redeem it for myself lest I mar 
mine own inheritance. Redeem it thyself, for I cannot re¬ 
deem it. 

Boaz: Ye are witnesses this day, that I have bought all 
that belonged to the husband of Ruth. 

All: We are witnesses. 

Woman : Surely is Naomi well named, for henceforth 
shall her days be very pleasant unto her. 

Kinsman : The Lord make the woman that is come into 
thine house like Rachel and Leah, which two did build the 
house of Israel. And do thou worthily in Ephratah and be 
famous in Bethlehem. 

Old Man (blessing Ruth ): Thy name shall never perish 
in Israel, for thy son shall be father to the first of many kings. 
This king shall be the “Beloved” of his people, and through 
him shall the land be blessed. And it shall come to pass in 
the later days, when our people are scattered, that they 
shall dream of this king and pray for his return. 

Naomi: Art thou happy, Ruth? 

Ruth: The Lord hath dealt kindly with me, and I am 
very happy. 


(THE END) 


Part II 

PLAYS, PAGEANTS, AND TABLEAUX 


Elma Ehrlich Levinger 



HOW SUCCOTH CAME TO CHAYIM 


A MODERN PLAY 

In One Act 





NOTES TO THE PRODUCER 


This is essentially a children’s play, and the children in 
it are to act as naturally and unaffectedly as possible. The 
characters of the father and mother and postman should be 
taken by older children. Jack may be played by an older 
child, but should be small for his age. 

The children should be dressed as country children in 
comfortable circumstances. The little girls should be of 
different types: Sadie with short curly hair and a round 
face; Lucy with sharp features and long braids. Ted should 
be light, Chayim considerably darker and less sturdy. 

There should be no attempt at realism in the kitchen. 
Have the cooking done in the “summer kitchen” and omit 
the stove and sink. If no cupboard can be secured, have the 
characters go off stage for dishes and food. The necessary 
furniture will be: several chairs, a large table, a sofa (if 
possible, otherwise substitute a large arm-chair and have 
child sit on the arm) and hooks for outdoor clothing. 

There should be at least several rehearsals with the 
Succah, each child being assigned definite tasks, that at the 
actual performance there is no confusion, and the building 
can be performed quickly and efficiently. For the father and 
Ted, try to secure two Boy Scouts or boys who have had 
some manual training; make them responsible for the build¬ 
ing. 

The lamp should have a solid base, that it cannot be upset 
easily, while confetti or “tinsel” will give the effect of 
snow during the early part of the scene. Layers of white 
mosquito netting, with bars done in charcoal, can be ar¬ 
ranged on back wall to represent window covered with snow. 

The amount of Hebrew used for the last scene should 
be left to the discretion of the director. Even a child with 
no knowledge of the language can be taught the first of the 
traditional blessings. 


265 


CHARACTERS 


Sam Rosenberg . 
Ted, 12 
Sadie, 9 
Lucy, 8 
Jack, 4 

Mary Rosenberg 
Chayim Perl, 12 
Tom Chrisler .., 


A Prosperous Farmer 

. His Children 

. His Wife 

. His Nephew 

. . . The Rural Postman 


TIME—The present. 

PLACE—A farm-house in northern Minnesota. 








How Succoth Came to Chayim 

The scene should show a kitchen, plainly but cozily 
furnished, a rag rug on the floor, a cheery chintz curtain 
drawn back from a window which is white with frost. Two 
doors, one at right of spectator to lead out on porch; one to 
left into sitting room. 

When curtain rises we see Sam Rosenberg, a man about 
fifty, in the working clothes of a practical farmer, sitting in 
the rocker reading a neivspaper. Now and then he stops and 
drinks from the cup that stands on the table at his elbow; 
the table is covered ivith a red cloth, and on it stand a coffee 
pot, several cups and a plate of apples. There is a knock 
at the outer door. Stretching himself lazily, for he has been 
nodding over his paper, Rosenberg saunters to door. He 
opens it and admits Tom Chrisler, a young man in a storm 
coat and rough hat. He carries several letters and news¬ 
papers in his hand. 

Rosenberg: Hello, Tom (taking letters). Thanks. Why 

didn’t you leave ’em in the box? 

Tom: One of your wild kids must have bent the cover off, 
and I didn’t want your mail to get wet with snow 
(laughs and takes off his hat, from which he shakes the 
snowflakes). A snow-storm in October. That’s going 
some! My grandfather says he don’t remember one 
since he was a boy, and then it snowed in September 
(taking off his gloves and rubbing his hands as he gazes 
hint fully at coffee pot). And cold for October! Kinda 
weather you wish you didn’t have to be a mailman, but 
could sit around home and drink coffee all day. 

267 


268 


HOW SUCCOTH CAME TO CHAYIM 


Rosenberg ( pouring him out a cup): Take some—it’s good 
and warm ( going to window). If the snow keeps on, 
it’s going to make the roads mighty bad. Maybe it’s the 
slush that makes the children get home from school late 
(glancing up at clock). 

Tom ( drinking coffee and helping himself to an apple) : You 
got three going to school now, haven’t you? And the 
baby? ( Rosenberg nods.) Should think you had enough 
troubles of your own without going to Europe for an¬ 
other one. 

Rosenberg (sitting down and beginning to draw on shoes he 
exchanges for his slippers): Oh, you mean little Cha- 
yim? He’s not any trouble. 

Tom: He’s related to you, isn’t he? 

Rosenberg ( rising ): Yes—my brother’s little boy. You see, 
I left the old country when I was just a boy. My 
brother was killed in the war and his wife died (sighs). 
We Jews are used to stories like that by this time. 
Just by luck, I heard of Chayim before they put him 
in an orphan asylum, and I got him over here. He 
goes to school with my children every day and seems to 
like it. And lie’s learned to talk English in no time. 

Tom: So he’s getting used to America? 

Rosenberg (putting on coat and hat he takes from door): 
Sometimes I think so—and again I don’t. Lately he’s 
been so quiet and down in the mouth that I’m afraid 
he’s sick or something. Well, I’ve got to be going to 
feed the stock. It gets dark early these snowy days. 

Tom (putting on his hat) : And if I don’t hurry they’ll be 
yelling all along the road for their mail (following Ro¬ 
senberg through the outer door). Guess the children are 
turning in the gate now. 



HOW SUCCOTH CAME TO CHAYIM 


269 


Rosenberg ( reaching back to close the door ): Yes. 

(For a moment the stage is empty. Then with loud 
shouts and much laughing, two girls and two boys rush upon 
the stage from the outer door. Ted is a manly chap, tall for 
his age, slow and dependable; Sadie is plump and rosy and 
motherly; Lucy is slight and quick and sharp of tongue; 
Chayim, who enters last, is small for his years, timid and 
thoughtful, pale and thin, with the manner of one who in 
spite of his present kind treatment cannot forget the harsh¬ 
ness of the past. They remove their wraps, flecked with 
snow, and hang them on the hooks on the door as they laugh 
and talk together.) 

Ted: Told you I’d beat you all racing up from the gate. 

Lucy ( sharply ): You didn’t—you got the head start. 

Ted: Didn’t. 

Lucy (slapping him): You did! 

Sadie (in her pleasant way): Now what’s the use of fight¬ 
ing? (as her mother enters the room) Mamma, I got 
100 in spelling today. 

(Mrs. Rosenberg is a pleasant-faced woman in a neat 
house-dress; she carries little Jack, who would be a very 
nice boy if he didn’t whine so much. Just now he is very 
good-natured, as he has bit his way to the middle of a big 
slice of bread and jelly.) 

Mrs. Rosenberg: That’s nice. (Goes to cupboard and brings 
out a plate of cookies and pitcher of milk.) You’re not 
hungry, are you? 

Children (laughing): Oh—no! (They cluster about the 
table as she serves them, little Jack pushing aside the 
others to get there first.) 

Jack (shrieking): Give me apple—give me cookies—give me 
milk. 

Mrs. Rosenberg (catching him ): No, no—baby, you’ve had 
lunch. (She holds him in her lap apart from the others, 



270 


HOW SUCCOTH CAME TO CHAYIM 


who eat and laugh and talk together. Then she notices 
that Chayim has taken an apple and gone to the sofa, 
where he sits brooding.) 

Mrs. Rosenberg ( going to sit next to him ): What’s the mat¬ 
ter, Chayim—don’t you want any lunch? 

Chayim ( with a slight accent): No’m—thank you. 

Lucy ( from table, as though accusing him): And he didn’t 
eat hardly anything at school this noon, either. 

Chayim {miserably, wishing they’d let him alone) : I wasn’t 
hungry. 

Ted: And he wouldn’t play tag at recess. 

Chayim: I didn’t feel like playing. 

Mrs. Rosenberg {fussing over him): Dear—dear—I hope 
you’re not going to be sick. That’s just the way Sadie 
came down with the measles. Let me see your tongue. 
{He obeys.) And you don’t seem to have any fever 
{feeling his forehead). 

Chayim {embarrassed) : I don’t feel sick. 

Mrs. Rosenberg: Then what’s the matter with you? Has 
Lucy hurt your feelings again? 

Lucy {indignantly): I never said a word to him! 

Chayim: No’m. 

Mrs. Rosenberg: Have you had any trouble at school? 

Chayim: No’m. The children are all nice to me, and the 
teacher is good, too. {Proudly) Today I read a whole 
page in the reader without making a mistake. 

Mrs. Rosenberg: Then what is the matter? 

Jack {having finished his bread and jelly) : I want more 
bread—I want more jelly. 

Mrs. Rosenberg {horrified): You’ve got jelly all over your 
face— {surveying him closer) —and look at your romper! 
{Rising) I’ll have to change it. 




HOW SUCCOTH CAME TO CHAYIM 


271 


Jack: I’m not a dirty boy. (Finishes his romper by wiping 
his messy hands on it and beginning to whine at the 
prospect of getting cleaned up.) I don’t want to get 
washed. 

Mrs. Rosenberg ( carrying Jack off left ): Be a good boy 
now. 

Jack (his whine rising higher): I don’t w T ant to be a good 
boy—I w T ant jelly. 

(Chayim, seeing that the group about the table are still 

busy with their lunch, starts to follow.) 

Sadie: Where’re you going? 

Chayim: Just going to put my books away. 

Ted: And then you’ll sit by yourself till supper time. (Com¬ 
ing to him) Why don’t you stay around and play with 
us any more? (Chayim does not answer) I haven’t 
done anything to hurt your feelings, have I? (Chayim 
shakes his head miserably) Maybe Lucy’s been teasing 
you again- 

Lucy (who would slaj) him if Sadie didn’t restrain her): 
You mean thing—blaming me for everything. 

Chayim (brokenly): No, you’ve been all so good to me, 
and I never mind what Lucy says. But— (he breaks 
into sobbing and sits in the nearest chair, hiding his 
face). 

Lucy (disdainfully) : Didn’t I always say he was a regular 
cry-baby ? 

Ted (threatening her): You stop calling him names or—or 
I’ll give you something to cry about yourself. 

Chayim (wiping his eyes) : Lucy’s right—I’m silly—but I’ve 
been so lonesome lately. 

Ted: I thought you were getting used to us and living in 
America. 

Chayim: I am. But I’ve been getting lonelier and lonelier. 
I want to go back to Galicia. 




272 


HOW SUCCOTH CAME TO CHAYIM 


Lucy: You must be crazy. Didn’t you tell us the people 
were mean to you over there, and you didn’t get enough 
to eat? 

Chayim: But we had Succoth back home in Galicia! 

Ted and Sadie: Succoth! 

Chayim ( glad to teach these Americans something ): Maybe 
you don’t know what Succoth is—in America. But I 
thought all Jews knew that much. 

Lucy ( seated beside Sadie on sofa ): I do. It’s a sort of 
Jewish holiday. (To others ) Don’t you remember, 
Grandma used to tell us stories about when she was a 
little girl in Europe, and they used to keep all the Jew¬ 
ish holidays? 

Sadie ( apologetically ): We can’t go to Sabbath School ’way 
out here in the country, and teacher isn’t Jewish, so she 
can’t teach us anything. What did you used to do on 
Succoth that you want it so bad? 

Ted ( sitting down) : Did you have it every year? 

Chayim ( proudly ): Every single year—till the war came 
and spoiled everything. I was just a little boy, but I 
remember all about it. We put up a Succah - 

Sadie: What’s that? 

Lucy: Don’t ask so many questions all the time or he’ll 
think you don’t know anything. 

Chayim: A Succah is a sort of little house. Father told us 
when the Jews were in the wilderness they lived in ’em, 
and God told ’em to live in Succahs every year at har¬ 
vest time to remember how He took them out of Egypt. 

Ted: Harvest time? Then it’s like our Thanksgiving in 
America. 

Chayim: I don’t know what you do on Thanksgiving in 
America- 


Lucy: We just eat, and eat, and eat. 





HOW SUCCOTH CAME TO CHAYIM 


, 273 


Chayim: We ate in our beautiful Succah for eight whole 
days—every meal. We made it out of boughs, and there 
was fruit hanging around the roof and a big hole made 
to see the stars through. ( Dreamily ) When we were 
driven out of our house by the soldiers and had to live 
in the w r oods, I used to think how pretty the stars looked 
shining into our Succah. 

Lucy: I don’t see what good the stars do anybody, that you 
want to look at ’em. 

Chayim: Father said it ought to make us think of God, and 
that He would protect us—even in a little house like a 
Succah, that the wind could blow over almost. 

Sadie: But I don’t see wdiy you get homesick for just a 
Succah—a little shanty like that. 

Chayim ( earnestly ): It was beautiful—perfectly beautiful. 
It was fun to make it, and fun to eat in it, and fun to 
pray and sing after supper. I couldn’t have one for 
three years ’count of the war, but mamma promised me 
I could this year. And now she’s dead, and nobody else 
cares. 

Sadie: Yes, we do. 

Chayim (with increasing excitement ): But you don’t under¬ 
stand. I’ve been planning and planning and planning 
for that Succah ever since I came, and saw how nice it 
would be to build one right out in the grape arbor. I 
asked Uncle once, but he said he never bothered, so I 
was going to put one up myself and save something out 
of my supper every night and eat out there. 

Ted: Why didn’t you ask me about it? 

Chayim: I was afraid you’d laugh; you always do when I 
say something that doesn’t sound American. 

Lucy: Well, why didn’t you go and build your Succah in¬ 
stead of fussing about it and getting lonesome? 




274 


HOW SUCCOTH CAME TO CHAYIM 


Chayim: Today’s the first night of Succah—and look how 
it’s snowing. I know Aunt would scold me if I went out 
in the snow again, ’cause she’s always worrying about 
my cold. And besides, the snow would come down on 
the roof and spoil the looks of everything. ( Resignedly ) 
I guess I’ll have to wait another year for my Succah. 

Lucy ( springing up) : You won’t, either. You won’t have 
to wait for your Succah. ( Turning to others) Aren’t 
you ashamed when he’s lonesome for his father and 
mother and his home, not to try to do something for 
him? 

Chayim ( battling with his tears) : I miss them so much now, 
’cause I keep remembering how we used to keep Succoth 
and-( breaks off). 

Ted ( accusingly) : You stop making him cry, Lucy, or I’ll 
tell mamma. 

Lucy: Go on and tell her. ( Taking Chayim’s hand) And 
we’ll go and build a Succah. 

Chayim ( hesitating ): Auntie won’t let me stay out in the 
grape arbor on account of my cold. 

Ted ( suddenly): We don’t need to go in the snow. I’ll go 
out and get those hemlock boughs we put in the barn 
when we cut down the old tree near the gate. 

Sadie: But where can we build our Succah? 

Ted: Right here. I’ll make a frame-work of those laths 
we’ve got left over from the chicken-house. 

Lucy: We got plenty of apples down in the cellar to trim 
it with- 

Sadie: I didn’t eat my orange father brought from town 
last week—( runs and gets it from cupboard) —here it is. 

Lucy ( going to inner door) : I’ll run down cellar and get 
the apples- 

Chayim ( putting on his coat) : I’ll help you bring in the 
boughs- 







HOW SUCCOTH CAME TO CHAYIM 


275 


Sadie ( following Lucy): Wait a minute- 

(The two girls pass through the inner door as the hoys 

pass out of the outer. A moment later the door on right 

opens and Rosenberg enters.) 

Rosenberg ( calling, as he removes his coat): Mary! 

Mrs. Rosenberg ( appearing ivith Jack, now very clean, by 
the hand) : What is it? 

Rosenberg: Why haven’t the boys come out to help with the 
milking? Where are they? 

Mrs. Rosenberg: They were in here just a minute ago. I 
heard them talking. 

Rosenberg: I suppose Lucy put them up to some mischief 
again! ( Lucy and Sadie enter, their arms filled with 
apples, ears of corn and a huge pumpkin.) 

Mrs. Rosenberg : Girls! What are you doing ? 

Jack ( beginning his whine) : I want apples—I want corn. 

Sadie: We’re making Succoth. 

Lucy ( with one of her explosive shouts): Just the thing! 
(She dashes out again through the inner door.) 

Rosenberg: You’re always the good girl of the family, 

Sadie. What are you bringing all that stuff in here for? 

Sadie ( very matter-of-fact): We’re just making Succoth. 

(Lucy comes running in, carrying a wreath of gay arti¬ 
ficial flowers which she tears recklessly to pieces.) 

Jack ( grasping): I want flowers. 

Mrs. Rosenberg ( catching her hand): Lucy! Isn’t that the 
wreath from your best summer hat? 

Lucy: Well, we haven’t enough kinds of fruit to make the 
Succah look nice, so I thought I’d fix my flowers all 
over it. It’s my hat, and I can spoil it if I want to. 

Rosenberg: I didn’t even remember it was Succoth. Who 
said we were going to have a Succah? 




276 


HOW SUCCOTH CAME TO CHAYIM 


Sadie (as there is a loud thumping at outer door ): There 
comes the Succah now! (She runs to open the door, 
and admits Chayim and Ted almost crushed by the 
boughs and laths they carry.) 

Rosenberg (almost speechless ): Well, did you ever f 

Mrs. Rosenberg: You’re going to make an awful muss- 

Chayim: I’m sorry. Maybe we better not have a Succah- 

Lucy (already trying to put up a stake ): Sadie and I will 
clean every bit of it up, won’t we, Sadie? (Aside to her 
mother) Let him have it, mamma. He’s a regular cry¬ 
baby, but he ought to have what he wants once in his 
life. 

Rosenberg (interested): See here, Ted, you’ll never get it 
to stand alone if you do it that way. (Taking a pole) 
Let me help. It isn’t the first Succah I’ve made. 

Chayim: I didn’t know you ever made a Succah. 

(By this time they are all helping, except little Jack, 
who gets in everybody’s way until he is mollified by receiv¬ 
ing the pumpkin to play with.) 

Rosenberg: When I was your age I helped your grandfather 
and your father build one. But when I came to America 
and lived in a city I didn’t have any place for one, and 
after I came on the farm I was just out of the habit of 
keeping the Jewish holidays, I guess. 

Chayim: I should think Jewish farmers would want to have 
a Succah. 

Sadie (with happy inspiration ): Mamma, don’t let’s have 
any real supper tonight. Let’s have a party, and eat in 
the Succah the way Chayim used to do. 

Mrs. Rosenberg: That will be fine. Boys, help me move the 
table in the Succah. 

(It is all complete by this time, the slats covered with 
hemlock boughs and a roof of boughs. The children stand 





HOW SUCCOTH CAME TO CHAYIM 


277 


on chairs and drape Lucy’s flowers and ears of corn from 
various angles, thrusting Sadie’s orange and the apples 
wherever they will stick, and draping an American flag above 
the door.) 

Lucy (after a battle with Jack, who doesn’t want to relin¬ 
quish his toy ): We’ll put the pumpkin in the corner— 
it’ll look nice, even if we can’t eat it. (Chayim steals 
softly through the inner door; Ted helps his father carry 
the table into the Succah. Sadie and Lucy cover it with 
a white cloth and set it for the party. They bring plates 
of cake and fruit from cupboard, cut sandwiches, etc. 
Jack continually interferes and tries to help himself. 
Mrs. Bosenberg climbs upon a chair and brings an old- 
fashioned lamp down from the top shelf of cupboard. 
She dusts it and sets it on center of table.) 

Sadie: I never saw that before, mamma. 

Mrs. Rosenberg: When we were little my mother used to 
have it in our Succah. It is very old; I think she got it 
from her grandmother. 

(The room has been growing gradually darker. She 
lights the lamp, which illuminates the entire Succah.) 

Ted: Wonder where Chayim went to? 

Lucy: Suppose he went off to cry again. 

Chayim (entering Succah): I’m never going to cry any 
more. I guess I was lonely for a lot of things—and 
thought it was just a Succah. I felt strange here, and 
didn’t know how much you all liked me and wanted to 
please me. Now I know. (He lays a little book beside 
Bosenberg’s plate.) 

Rosenberg: What’s that ? 

Chayim: My little Sidur—I used to say my prayers from it 
at home. I just went to my room and got it. 

Ted (opening book ): Can you read all that Hebrew? 



278 


HOW SUCCOTH CAME TO CHAYIM 


Chayim: Of course— (as they all sit about table) —but I 
guess Uncle wants to read it tonight. Father always 
read the prayers in our Succah. 

Rosenberg ( glancing over pages) : I’m ashamed of myself, 
Chayim, but I can’t read Hebrew very easily any more. 
You read the prayers for us tonight. 

Ted ( enviously ): You must know a lot. 

Lucy: And I’ve been making fun of you ’cause you couldn’t 
read English when you first came over here. 

Chayim: If you help me read English better, I’ll teach you 
how to read Hebrew. 

Rosenberg: I wish you would. I know how bad Grandma 
would feel that you children aren’t learning anything 
Jewish. Well, now let’s start our thanksgiving service. 

Sadie ( glancing around Succah) : It does look just like the 
platform at school did last Thanksgiving, doesn’t it ? 
(To Chayim) We always have a lovely program, and 
teacher asks each of us what we’re thankful for. What 
are you going to say? 

Chayim (thoughtfully) : It wasn’t safe all this time to build 
a Succah over there. But here everybody is good to me 
and Jews can keep their holidays—and have a Succah. 
(His eyes seeking the little flag) I think I’m going to 
be thankful for America! (He opens his book and be¬ 
gins to read the traditional Succoth service as the cur¬ 
tain falls.) 



THE GOLDEN STAFF 


A SUCCOTH OPERETTA 

Text 

Elma Ehrlich Levinger 

Music 

Samuel Goldfarb 





























































NOTES TO THE PRODUCER 


This little harvest play, with music, should not be pre¬ 
sented unless there is a large enough group of children 
available to make an impressive chorus. For this reason it 
is especially suited to the needs of Sabbath Schools having 
a choral society. 

The Psalms in the Second Act may be sung to some 
traditional melody or recited to appropriate music. 

A child of seven or eight should be chosen for Joseph in 
Acts I and II. The Joseph of the last act should be an 
older boy, who need not possess an especially fine voice since 
he does no solo work. The music for Joseph’s “Staff Song” 
is so simple that it can be mastered even by a very young 
child. 

The costumes are the conventional flowing robe with the 
turban, veil and girdle to be seen in any oriental pictures. 

The three scenes may be done against a simple dark 
background with an altar (a large box covered with white 
cloth) in the center of the stage for Act II. 



CHARACTERS 


Nathan . A Wealthy Landowner of Penuel 

Miriam . His Wife 

Joseph . Their Little Son 

(To be impersonated by a younger and older child) 

Joab . An Overseer 

Samuel . A Worker from the Fields 

Reul . A Shepherd 

Dinah, Mary . Handmaids 

The High Priest. 

Caleb . One of Nathan’s Neighbors 

Reuben, Gad . Priests 

Little Abner . A Servant 

Priests, Pilgrims, Nathan’s Servants 


TIME—In the days of the Kings. 
PLACE—In Penuel and Jerusalem. 












The Golden Staff 


ACT I 

The scene shows an open place before the house of 

Nathan of Penuel, several days’ journey from Jerusalem. 

Nathan and Joab stand talking together. 

Nathan: And all the harvest has been gathered? 

Joab: Ay, my master. 

Nathan: And the workers in the vineyards and the shep¬ 
herds from the hills are ready with their offering? 

Joab: Ay, my master. 

Nathan: Then hasten to call them together, for tonight we 
set out for Jerusalem to bring our harvest offerings to 
the House of the Lord. 

(Jacob bows and exits B. Miriam comes from the 

house.) 

Nathan: Wife, are your handmaidens in readiness to make 
the pilgrimage to Jerusalem? 

Miriam: Yes, my husband. Little Joseph is very impatient 
to set out. You remember that last year he was ill at 
Succoth, and before that time you thought him too young 
for the long journey? 

Nathan: God be thanked that he was spared to us! Men 
have envied me my broad lands and many flocks, but I 
could part with all my treasures far more easily than 
my only son. 


283 


284 


THE GOLDEN STAFF 


Miriam (as Mary enters with the child ): Ah, my child, are 
you ready to start to Jerusalem with your father and me? 
(Joseph runs to his father and examines his staff.) 

Mary: Dinah is laying out the festal robes you would have 
him wear. 

Joseph: Mother, see the fine new staff father has. I’d like 
to have one too. 

Miriam ( laughing ): You are too little. You will have to be 
carried as soon as you are tired. Why should you have 
a pilgrim staff? 

Nathan: Nay, wife. I had intended to give our son a gift 
today, and it is nothing else but a staff. (He enters 
house and returns carrying a small golden staff.) See, 
Miriam, I have treasured it for our son all these years. 

Miriam (taking staff): It is almost too precious to give to 
him while he is so young. (Shows Joseph the staff.) 
See, Joseph, the quaint symbols upon it, which show 
that you are of the tribe of Levi. It belonged to your 
grandfather, who was a mighty man in Israel. He gave 
it to your father when he was a tiny boy like you. 
Some day when you are older I will give you the staff. 

Joseph: I want it now. 

Miriam: You may lose it. 

Nathan: Nay wife, let him have it. (She shakes her head. 
Joseph leans against her knees and reaches for the staff.) 

THE SONG OF THE STAFF 
(Joseph sings) 

Oh, mother, give that staff to me, 

That little staff of gold, 

The pretty staff my father had 
When he was just as old. 



THE GOLDEN STAFF 


285 


Nathan and Miriam ( laughing )— 

The pretty staff his father had 
When he was just as old. 

(Miriam smilingly gives him the staff; he dances with 
joy.) 

Joseph— 

Thanks, mother, for this little staff, 

This pretty staff of gold! 

{Half doubtfully, as he looks up at his tall father, then 
down at staff )— 

Is this the staff my father had 
When he was just so old? 

(Extends hand at level of his shoulder.) 

{Dinah, carrying robes and cloaks over her arm, enters 
from house.) 

Joseph— 

Oh, Dinah, see my pretty staff, 

My little staff of gold; 

This is the staff my father had 
When he was four years old. 

Nathan, Miriam and Dinah {laughing )— 

This is the staff his father had 
When he was four years old. 

Dinah {bending to look at it): I have never seen such a 
beautiful staff before. {Showing Miriam the robes) 
Which of these garments shall he wear to the festival? 

Miriam {taking robes) : I will select one now. And do you, 
my maidens, call forth my other handmaids, that they 
may join us in our festal journey. 



286 


THE GOLDEN STAFF 


Nathan (as Dinah and Mary go into the house) : Yes, wife, 
deck him like a prince, for I shall be prouder than a 
king when I show my son to the friends and kinsfolk I 
hope to meet in Jerusalem. 

THE MOTHER’S SONG 
(Miriam sings ) 

Oh, little son, the way is very long 

To the fair city of the mighty king; 

Yet countless pilgrims seek its gates with song, 

Their bounteous gifts to the Lord to bring. 

A long way off—a long way off—its holy towers shine, 
Yet we shall see Jerusalem, 0 darling son of mine, 

A long way off—a long way off—its holy towers shine, 
Yet we shall see Jerusalem, 0 darling son of mine. 

The harvesters pass singing down the road; 

The treaders of the wine-press come with glee; 

The shepherds laughing leave their flocks in fold, 

All haste the Temple of the Lord to see. 

A long way off—a long way off—its holy towers shine, 
Yet we shall see Jerusalem, 0 darling son of mine, 

A long way off—a long way off—its holy towers shine, 
Yet we shall see Jerusalem, 0 darling son of mine. 

Come, little one, here is thy robe, thy staff, 

Come, let us hasten with the happy throng; 

Twixt vines that in their purple vintage laugh 

We’ll pass, and raise our voice in grateful song. 

A long way off—a long way off—its holy towers shine, 
Yet we shall see Jerusalem, 0 darling son of mine, 

A long way off—a long way off—its holy towers shine, 
Yet we shall see Jerusalem, 0 darling son of mine. 

(Dinah, Mary, and a number of other handmaidens come 
from the house bearing fruit and willow branches.) 

Mary: See we have brought fruits from the tree and the 


vine. 



THE GOLDEN STAFF 


287 


Dinah: And we have plucked branches from the willows of 
the brook that we may carry them when we dance before 
the Lord. 

Miriam ( rising ): You have done well, my daughters. 

Nathan ( rising ): And here come the workers from the field 
and the vineyard ready for their journey into Jerusalem. 
(Enter Jodb, followed by the harvesters , shepherds and 
workers of the vineyard.) 

Joab: All is in readiness for the journey, 0 master. 

Samuel: See how my men have gathered their sheaves- 

Reul: My shepherds shall drive before them the finest of 
the flocks, those without blemish, that we may offer them 
upon the altar of the Lord. 

Dinah: Behold our grapes, purple and glowing- 

Nathan: Ay, we shall bring worthy tithes to the House of 
the Lord, but let us not forget that no offering is half 
so fair in His eyes as a heart filled with gratitude and 
love. Let us raise our voices together as we journey 
towards Jerusalem, and sing songs of praise to the 
Lord who hath been gracious unto us, His people. 

All- 

God of Harvest, Thou whose hand 
Doth sun and rain and dew provide, 

Who crowneth all the year with good, 

Receive our thanks this harvest-tide. 

Laden with tithes of fruit and corn, 

With offering from the field and tree, 

We hasten to Jerusalem 

And offer up our gifts to Thee. 

Nathan— 

0 ruddy workers of the field, 

Who toiled beneath the burning sun, 

Now hasten with your golden sheaves, 

The precious gift your labors won. 





288 


THE GOLDEN STAFF 


Harvesters (led by Samuel )— 

Enriched with corn, the valleys sing, 

They smile beneath the gracious sun; 

The hills are clothed in endless joy; 

With gladness all the rivers run. 

All- 

Laden with tithes of fruit and corn, 

# With offering from the field and tree, 

We hasten to Jerusalem 

And offer up our gifts to Thee, 

We hasten to Jerusalem 

And offer up our gifts to Thee. 

Nathan— 

Oh, maidens, come from where the vines 
With purple wealth are running o’er, 

Have ye brought offering rich enough, 

When Israel’s God ye come before? 

Maidens (led by Dinah )— 

The vines are rich with purple grapes, 

Upon the ground the ripe fruits fall; 

We gather them with thanks to Him 
Who loveth and giveth all. 

All- 

Laden with tithes of fruit and corn, 

With offering from the field and tree, 

We hasten to Jersualem 

And offer up our gifts to Thee. 

Nathan— 

Oh, shepherds w T ho have watched your flocks, 
And led them by cool streams and deep, 

Forget not Him who watcheth you, 

A gentle Shepherd of His sheep! 



THE GOLDEN STAFF 


289 


Shepherds (led by Reul )— 

Now clothed with flocks the pastures are, 

With heads bent low they meekly stray; 

For His poor sheep He doth provide, 

And watcheth them from day to day. 

All- 

Laden with tithes of fruit and corn, 

With offering from the field and tree, 

We hasten to Jerusalem 

And offer up our gifts to Thee, 

We hasten to Jerusalem 

And offer up our gifts to Thee. 

Joab: See, master! Our neighbor Caleb and his household 
have already set out for Jerusalem. 

Nathan: Then we can join them; see, they are coming hither. 

Joseph ( from his mother’s side) : I want to show neighbor 
Caleb my staff. 

Miriam: Patience, little one. ( Enter Caleb, followed by 
members of his household, servants, etc., all with of¬ 
ferings. ) 

Caleb: Lo, I and my household, my men servants and my 
maid servants, are ready to begin our journey to Jeru¬ 
salem. Shall our households unite and take the road to¬ 
gether ? 

Nathan: Surely. We shall go together in peace and with 
rejoicing. 

All (as they leave stage R .)— 

Laden with tithes of fruit and corn, 

With offering from the field and tree, 

We hasten to Jerusalem 

And offer up our gifts to Thee, 

We hasten to Jerusalem 

And offer up our gifts to Thee. 

(The curtain is drawn as they pass out singing. Miriam, 

among her handmaidens, comes last. Little Joseph runs by 

her side proudly showing his staff to the various harvesters.) 



ACT II 


Curtains are drawn to show High Priest at altar with 
his priests about him. Grouped on either side stand the 
Pilgrims with their offerings. They continue to sing and 
chant, the first f&w lines having been sung before the cur¬ 
tains are drawn. 

With young children, it will be found advisable to cur¬ 
tail this “service” as much as possible, allowing them to re¬ 
cite the responses to appropriate music. 

Pilgrims ( chanting )— 

The Lord hath visited the earth and hath caused it to 
overflow with richness; 

The Lord hath given His people of the bounty of 
the harvest; 

He hath filled our arms with the grain of the fields; 

Our vineyards hath He also visited; 

How shall we repay the Lord for His loving kindness? 
How shall we give thanks for the abundance of His 
mercy ? 

How shall we give thanks for the abundance of His 
mercy ? 

Priest ( chanting )— 

Since the Lord hath visited the earth and hath caused 
it to overflow with richness, 

Since the Lord of Israel hath given His people of 
the bounty of the harvest, 

Let His people lay their golden sheaves before Him, 

Let them bring Him the fruit of all their vineyards. 

290 


THE GOLDEN STAFF 


291 


Thus shall ye repay the Lord for His loving kindness, 
Thus shall ye give thanks for the abundance of His 
mercy! 

Thus shall ye give thanks for the abundance of His 
mercy. 

Pilgrims (chanting as they pass High Priest and lay their 
offerings upon the altar )— 

Let us lay our tithes before the God of Israel; 

Let us give the Lord of the bounty of our harvest; 
Let us give Him of the best from the field and from 
the vineyard; 

Let us give the Lord of the bounty of our harvest. 
Priest (as they pause before him )— 

Lord God of Israel, reject not the offering of Thy people, 
Be gracious unto us who bring our gifts before Thee! 

Other Pilgrims (chanting as they lay their offerings on altar 
while all sing )— 

Let us lay our tithes before the God of Israel; 

Let us give the Lord of the bounty of our harvest; 
Let us give Him of the best from the field and from the 
vineyard; 

Let us give the Lord of the bounty of our harvest. 

Priest (as they pause before him )— 

Lord God of Israel, reject not the offering of Thy people, 
Be gracious unto all who bring their gifts before Thee! 

Pilgrims (as the harvest service is concluded )— 

We have given to the Lord who hath blessed us with the 
abundance of His harvest; 

We have given to the Lord who hath been gracious unto 
His people. 

(A solemn pause. Then a group of young girls carrying 
willow branches come from the midst of the pilgrims and 
dance before the altar.) 



292 


THE GOLDEN STAFF 


Maidens (as the dance ends and they stand before the altar )— 

We have danced before the Lord with the branches of 
the willow, 

With the willows of the brook, before the God of Israel! 

Pilgrims (facing altar )— 

We have given to the Lord who hath blessed us with the 
abundance of His harvest; 

We have given to the Lord who hath been gracious unto 
us His people. 

Give us now thy blessing that we may depart in peace, 

Let us go out in peace and know that the Lord is with us. 

Priest (raising his hands in blessing )— 

The Lord bless thee, 

And keep thee; 

The Lord make His face to shine upon thee, 

And be gracious unto thee; 

The Lord lift up His countenance upon thee, 

And give thee peace! 

Pilgrims ( chanting )— 

God be merciful unto us, and bless us, 

And cause His face to shine upon us; 

That His way may be known upon the earth, 

And His loving kindness among all the nations. 

Priest (raising his hands )— 

The Lord lift up His countenance upon thee, 

And give thee peace! 

Pilgrims (departing slowly )— 

The earth hath yielded her increase; 

God, even our own God, shall bless us; 

God shall bless us, 



THE GOLDEN STAFF 


293 


And all the earth shall fear Him. 

Let all the peoples praise Thee, 0 Lord, 

Let all the peoples praise Thee. 

(The sound of chanting continues as they depart, and 
dies away in the distance.) 

(No one remains upon the altar hut the High Priest, who 
slowly descends and passes out R. Little Abner, a hoy of 
seven, dressed in coarse garments, enters from L., looks about 
him, and suddenly picks up a bright silken scarf lying upon 
the floor. He is about to leave L. when he finds little Joseph 
sleeping in a corner behind the door, to which he has crept 
during the Harvest Service and where he now lies fast asleep. 
Abner shakes him gently.) 

Joseph: Yes, father! (he stretches sleepily). 

Abner: Who is your father? 

Joseph: He’s just father. 

Abner: That’s silly—what’s his name? 

Joseph: Mother calls him ‘husband’, and the servants call 
him ‘master’. (Rising) Where is father? I want him. 

Abner: I don’t know. How did you get here? 

Joseph: I ran away while they were singing. I wanted to 
tease mother and hide here and jump out at her when 
she passed. But she’s gone, and it’s late, and I’m hun¬ 
gry, and I want to have my supper and go to bed. (Be¬ 
gins to cry.) 

Abner: Stop crying—only girls cry. 

Joseph: But I’m sleepy—and hungry- 

Abner: My mother is bondservant to a wealthy widow of 
Jerusalem. Our mistress loves children dearly, although 
she has none of her own. Come home with me and she 
will be good to you. 




294 


THE GOLDEN STAFF 


Joseph: Will she give me a good supper? 

Abner: Yes, but let us hurry, for she sent me back to find 
her scarf she lost while in the temple. Come with me. 
And let me carry that little golden staff for you. 

Joseph: No—it’s mine! 

(The two children go out together. A long silence. 
Then the sound of the Pilgrims singing in the distance is 
heard. Miriam and Nathan enter hastily from L. They 
look about them anxiously; Nathan shakes his head with a 
gesture of despair. Miriam sinks upon the altar steps 
weeping; he seeks to comfort her. From the distance comes 
the Pilgrims } song as they depart.) 

Pilgrims— 

The earth hath yielded her increase; 

God, even our own God, shall bless us; 

God shall bless us, 

And all the earth shall fear Him. 

Let the peoples praise Thee, 0 God, 

Let all the peoples praise Thee. 



ACT III 


An outer court of the temple, during the festival of 

Succoth, ten years later. Pilgrims pass to and fro, among 

them two priests, Reuben and Gad, who enter from the R. 

and L. and meet and embrace. 

Reuben: Have you heard—I am to serve before the altar 
with you during the harvest festal rites? 

Gad: I am glad, my good Reuben. And Joseph—have you 
heard whether he has been appointed to serve with us? 

Reuben: Ay, Joseph has also been elected to assist the high 
priest. And he is so much younger than the rest of 
us—he is only a novice. 

Gad: But the favorite of the High Priest! 

Reuben: And the favorite of all who know him. What a 
pity his foster-mother did not live to see him enter the 
priesthood! 

Gad: Methinks he has never been the same since her death 
several months ago. 

Reuben: Hush, here comes Joseph. ( Enter Joseph, a boy 
of fourteen, dressed as a priest. His golden staff is 
fastened in his girdle.) 

Gad: We were just rejoicing that you were called upon to 
serve with us this day. 

Joseph (sadly): I thank you, my good friends. Once this 
would have brought me happiness, but today- 

Reuben: We are indeed your friends. Tell ns, Joseph, why 
you have seemed so heavy of heart these last few 
months. 


295 



296 


THE GOLDEN STAFF 


Joseph (as they seat themselves) : You know that I have 
always considered myself an orphan, but believed I was 
near of kin to the dear woman who reared me as her 
son. ( They nod.) But just before her death several 
months ago she told me that I had been found here in 
the Temple by one of her young servants. She sent the 
servant away, and no one knew that she had no right 
to keep me in her household. But she was childless, 
and grew to love me and could not bear to give me up. 
She believed that I was the child of pilgrims who had 
come to Jerusalem for the festival; it was Succoth when 
her servant found me here in the Temple. 

Gad: And she never told you until her death? 

Joseph: No. Before she died she gave me this little golden 
staff which I have always carried at my girdle from that 
day. (He takes it from his girdle and they examine it.) 
It bears the symbol of the family of Levi; for this 
reason my foster-mother, who was of the family of 
priests, dedicated me to the Temple service. But it tells 
nothing of my father nor my mother—if I only knew 
whether they were alive or dead. 

Gad (rising): Be of good courage! Who knows but that 
you may some day meet them again? 

Reuben (rising): Come, brother Joseph, they wait us with¬ 
in, for soon it will be time to receive the pilgrims who 
have come to Jerusalem with their offerings for the 
Lord God of Israel. 

Joseph (without looking up) : Presently. But now I would 
be alone. (They go out R.; Joseph sits looking sadly 
at his staff.) And I cannot find them— (he slips it be¬ 
neath his robe) —I cannot find my mother—my father— 
only my little staff to remind me of my childish days— 
and it cannot speak to me. (As he sits lost in thought, 
Nathan and Miriam, both looking considerably older 
and care-worn, enter from L.) 



THE GOLDEN STAFF 


297 


Nathan ( pausing before Joseph): May my wife rest here 
in the cool courts before she goes within for the Temple 
service ? 

Joseph ( rising ) : Rest here, and I will bring you water to 
drink, for you seem warm and tired. 

Miriam: Nay, I will be better presently—’twas only the hot 
sun and the long journey. 

Joseph: You have come far? 

Nathan: From Penuel—with my men servants and my. maid 
servants who wait without. ( Sighing ) Ah, wife, once 
the way did not seem long—that day long ago when our 
little son laughed and chattered as he danced beside us. 

Joseph (as Miriam weeps) : Your son is dead? 

Nathan: We will speak no more of him. 

Miriam: Ah, no, I cannot— I will not believe that my son 
is dead. It hardly seems a day since I sat before our 
house and sang to him as I dressed him for his journey 
to Jerusalem. {Half unconsciously she begins to sing 
her song of the first act, “0 little son, the way is very 
long,” etc.) 

Joseph {starting): What song is that? 

Miriam: Only a simple song my mother used to sing to my 
brothers before they set out on the pilgrimage to Jeru¬ 
salem. And I sang it to my little boy;—listen: {She 
sings the second stanza.) 

Joseph {dreamily): Surely I have never heard that song— 
and yet—a garden—a kind woman caressing me- 

Miriam {turning to Nathan with a startled cry): Nathan! 
Did you hear- 

Nathan {hoarsely): Go on singing—he is just the age—go 
on singing—perhaps he will remember. 

Miriam {singing): “Come, little son, here is thy robe, thy 
staff- ” 







298 


THE GOLDEN STAFF 


Joseph: My staff! A woman singing in the sunshine—and 

she gave me a staff—now I remember—see, see- {He 

tears open his robe and draws out the little golden staff.) 

Miriam ( embracing him as he kneels before her ): My little 
boy—my little boy. 

Nathan: The staff my father had—the staff I gave my son! 
{Embracing him.) Praised be the God of Israel who 
hath reunited us after these many years. {He hurries 
to the door L.) Come, my servants, my men and my 
maids. {The people of Nathan’s household enter L.) 
Come and bring your offerings, and thank God for the 
bounties of the harvest. And today thank Him with me 
that He hath restored my only son to me. 

Joab: Can this be Joseph? {Kissing his hands.) 0 my 
young master, my heart is well-nigh bursting with joy 
that we have found you again. {The servants of Na¬ 
than crowd about Joseph and kiss his hands and gar¬ 
ments.) 

Miriam {her arms about him): But you are wearing the 
dress of a priest- 

Joseph: Yes, mother, I have been given to God, and I serve 
in His Temple. 

Miriam: 0 my son, my son, have I found you only to lose 
you again? 

Nathan: Nay, Miriam. Now he is ours in truth, and we 
can give him to God gladly. Today I bring the best of 
my harvest to lay before the God of Israel. My heart 
rejoices that I can also give my only son to His ser¬ 
vice. {He turns to his people.) Let us go in before 
the Lord and praise Him for His goodness. 

{Joseph, walking before his parents, leads them B. into 

the Temple. They sing the harvest song, <( God of Harvest”, 

as they pass. The song continues until the curtains are 

drawn .) 





THE GOLDEN STAFF 


299 




The Golden Staff 

A Succoth Operetta 


Libretto by 

E. C. Ehrlich 


The Staff Song 


Music by 

8. E. Oold/arb 





































































































































































300 


THE GOLDEN STAFF 


The Staff Song 



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The Mother’s Song 


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THE GOLDEN STAFF 


301 


The Mother’s Song 



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302 


THE GOLDEN STAFF 


The Harvest Song 


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. 







THE UNLIGHTED MENORAH 

) 

A CHANUKAH FANTASY 
OF THE TIME OF FELIX MENDELSSOHN 


In One Act 



NOTES TO THE PRODUCER 


The actors should be chosen with the greatest care, es¬ 
pecially those taking the part of Abraham, which requires 
considerable emotional power and excellent pantomime, and 
the role of Moses Mendelssohn, which requires a deep, full 
voice and an impressive bearing. Leah should be pretty and 
sympathetic; Felix, lively and active. The director should 
take special pains that Felix, although played in a lighter 
vein than the other characters, should never appear flippant. 

If the actors representing Felix and Leah are proficient 
musicians, the piano may be placed either below the plat¬ 
form or at one of the exits, in full view of the audience, 
adding much to the effectiveness of the stage picture. 

The costumes w T ill be suggested by any good illustrated 
history or biography of the period. Leah and Felix should 
wear bright colors, Moses Mendelssohn a black suit with 
talith and cap, Abraham a dark lounging robe, a brighter 
robe thrown across his knees. 


307 


CHARACTERS 


Abraham Mendelssohn-Bartholdy. 

Felix . His Oldest Son 

Leah (Abraham’s Wife), known as Felicia. 

Moses Mendelssohn . Abraham’s Father 

(Seen in his dream) 


TIME—A November evening in the year 1835, a few 
days before Abraham’s death. 

PLACE—The library of Abraham Mendelssohn’s home, 
the Gartenhaus, in Berlin. 





The Unlighted Menorah 


Before the curtain rises, one hears the sound of a 
piano played softly behind the scenes. One of Mendels¬ 
sohn’s compositions written before 1835 should be used. Op. 
15 —his fantasie on the (( Last Bose of Summer”, one of the 
fantasies of the Op. 16, or one of his earlier u Lieder ohne 
Worte” would be appropriate. The music continues during 
the opening scene between Abraham and Leah. 

The library of the Mendelssohn home is comfortable 
and tastefully arranged; the walls are lined with books. 
The room is lighted by candles in handsome and fantastic 
holders. 

Abraham Mendelssohn, a man of fifty-nine, blind and 
frail, sits in a large arm-chair. At his elbow a table covered 
with books, several loose sheets of music, etc.; a picture in a 
silver frame; a vase of flowers; a lighted candle on the 
other side of the table, where a smaller arm-chair stands. 
Leah, a handsome woman, a few years his junior, stands 
before the bookcase in the back wall, apparently in search of 
a volume. 

Leah: I’m sure I put back the volume of Lessing I was 
reading to you yesterday, Abraham. 

Abraham: Do not trouble to look for it, dear. It is so 
pleasant just to sit here and listen to Felix playing his 
own songs. 

Leah (still searching) : But I know I put Lessing on the 
third shelf! 

Abraham: Ah, Lessing—the defender of the Jew, the friend 
of Moses Mendelssohn. (With a whimsical little laugh.) 
I used to be proud of being the son of Moses Mendels- 

309 


310 


THE UNLIGHTED MENORAH 


sohn; now I am honored as the father of my son, Felix 
Mendelssohn-Bartlioldy. ( A moment of painful reverie.) 
How proud father would have been of Felix—eh, Fe¬ 
licia? 

Leah: But isn’t it due to your planning and foresight that 
Felix has been appointed Kapellmeister at Leipzig? 

Abraham: I tried to make the way easy for him. Yes, Fe¬ 
licia, it was better that we turned Christian. Felix has 
never known the hardship of being a Jew, even a Jew 
with wealth and family and education. When I think 

of what my poor father suffered- ( again drifts into 

reverie .) 

Leah: Perhaps the book has fallen back behind the others. 
(Thrusts her hand behind the other volumes.) There is 
something else here. ( She pulls out an old-fashioned 
Menorah.) The old Menorah Tante Jette told me your 
father had in the old house at Hamburg! 

Abraham: Let me see it ( reaches out his hands). I mean 
let me feel it. ( She places it in his hands and sits 
across from him in the other arm-chair after laying her 
book upon the table.) The old Chanukah Menorah! I 
remember how father used to say the blessing over the 
lights—and we would sing—what was that old Hebrew 
song?—ah, Mooz T’Zoor. ( Wistfully ) I should like to 
hear Felix play it, but he knows no Jewish songs. 

Leah: But I remember it! ( She hums it softly.) 

Abraham ( feebly beating time) : I can almost see the Cha¬ 

nukah lights again! Ask Felix to play it for me, dear. 

Leah ( rising and going to the door of the music room): 
Felix, father wants you. 

Felix (entering): Yes, father. (He is young; handsomely 
dressed.) 

(Leah sits near table going over books.) 





THE UNLIGHTED MENORAH 


311 


Abraham: Just now as you were playing, Felix, I wanted 
to hear an old Jewish song my father used to love. I 
would like to have you play it for me, for sometimes I 
am hungry to hear those old melodies again. 

Felix: But I don’t know anything about Jewish music, 
father. ( Picking up the Menorah from his father’s lap.) 
What a beautiful candlestick. 

Abraham (a trifle sadly ): You have never seen it lighted, 
Felix. At my father’s house we lighted it each year on 
Chanukah, the Jewish Feast of Lights. If my father 
had lived you might have gone to his house with me at 
Chanukah, Felix, and heard him bless the candles. (To 
Leah ): Perhaps if he had lived we might have remained 
Jews, Felicia. 

Felix (still holding the Menorah, sits on edge of table ): It 
seems strange to think of you as a Jew, father. (Laugh¬ 
ing) Why, when I have finished my cantata of “St. 
Paul” it will be played in all the great churches of 
Europe. I can’t imagine myself writing Jewish music, 
can you, father? 

Abraham (heavily) : No, Felix. 

Leah (hastily) : Father wants you to play an old Chanukah 
hymn. (Rising) I’ll see whether I can play it myself 
first—and if I can, you must listen, Felix, and play it 
afterwards to father, for I know he prefers your music 
to mine. 

Abraham (with laughing protest) : Now, Felicia, you know 
better than that. 

Leah (standing behind his chair and smoothing back his 
hair) : And perhaps the music will drive away the fool¬ 
ish dreams that have been troubling you since your ill¬ 
ness. 

Abraham (feeling for her hand and holding it against his 
cheek) : I am not so ill as you would have me, Leah. 



312 


THE UNLIGHTED MENORAH 


Leah ( a little wistfully ): My old Jewish name! 

Abraham: The foolish dreams which come to me in my 
darkness bring back old memories, Felicia. 

(She seems about to speak, then with a caress full of 
tender understanding she leaves him and walks quietly to¬ 
ward the music room. Felix is about to follow her, then 
pauses irresolutely at the table, where he stands fingering 
the Menorah.) 

Felix: A Jewish Chanukah lamp! And I often forget that 
grandfather was a Jew. ( Picking up the picture.) Yet 
I always liked this picture. He did a great deal for 
your—for his people, didn’t he, father? 

Abraham: He was a prince among Jews and a Jew among 
princes, ( bitterly ) for he was never ashamed of his 
faith. I wish I might have loved my religion as he did! 

Felix ( curiously ) : I never knew you felt like that, father. 

Abraham: Perhaps it is because, having grown blind, I am 
learning to see clearly what I never saw before. It 
might have been harder for all of us had we remained 

Jews, and yet- ( Hastily ) Do not speak of this to 

mother, Felix; I would not have her unhappy. 

Felix ( thoughtfully, as he absently fingers the Menorah ) : If 
things had been different—if my grandfather had re¬ 
mained poor and unknown—and you and I would have 
been born in some miserable ghetto—would I have writ¬ 
ten chants for the synagogue and songs for the festivals, 
instead of music like my “St. Paul” for the Christian 
Church ? 

Leah (at door ): I want you to come and listen while I 
play the Chanukah hymn, Felix. 

Felix ( still dreamily) : I’m coming. (He puts the Menorah 
on the table and walks thoughtfully toward the music 
room. At the door he turns to his father and adds): 




THE UNLIGHTED MENORAH 


313 


Had I been reared a Jew it would have made a great 
difference in my music, father. 

(Abraham is left alone, his head bowed on his breast. 
The candles in the room have burned lower; the light is 
very dim. From the next room comes the music of 
“Mooz TZoor”, which continues during the scene—first 
played falteringl-y, as though Leah were trying to re¬ 
member the old strain, then with more assurance, and 
finally louder and stronger as Felix plays.) 

Abraham ( with a great sob of yearning in his voice) : He 
says Judaism would have made a difference in his mu¬ 
sic. What a difference it would have made in my life! 

(As he sits brooding, a man enters. He is middle-aged, 
wears a skull-cap and talith. As he crosses to the table he 
sees the Menorah upon it; he picks it up gently, a smile 
brightening his ugly face.) 

Mendelssohn: You have the old Menorah? You still light 
the Chanukah candles, my son? 

Abraham ( stretching out his hands to him) : Father! 

Mendelssohn (without approaching him) : I am glad. ( The 
strain of Mooz T’Zoor grows stronger.) And the old 
Chanukah hymn! It is good to be a Jew and love the 
beautiful old customs of our fathers. 

Abraham: But it is not always easy to be a Jew, father! 
( Ashamed ) It was not easy for me, so- (stops, con¬ 

fused. ) 

Mendelssohn (quietly): It is never easy to be a Jew, my 
son. For me it meant hunger and poverty and hatred— 
yes, bitter hatred and injustice, even after the hunger 
and the poverty had passed away. (Sits by the table, 
across from Abraham.) Yet it is a great joy to be a 
Jew. I know I was happy through all my miseries, for 
I loved my people, and I was sure I would be permitted 
to help carry on the light. 




314 


THE UNLIGHTED MENORAH 


Abraham: Carry on the light? 

Mendelssohn: Every Jew is a torch-bearer. We are like 
runners in the old Greek races. (Picks up lighted can¬ 
dle from table.) Each runner bears a torch, which he 
thrusts into the hand of the man who follows him when 
he drops out of the race. My father gave me the love 
of learning and a Jewish mind; I hope I passed on 
these treasures to my children. What will you give 
your son for his birthright, Abraham? (Puts down 
candle-stick.) 

Abraham (turning away): Oh, father—father- 

Mendelssohn (as though misunderstanding the cause of his 
grief ): Is he not a worthy son? 

Abraham: Yes—but he is not a Jew- 

Mendelssohn: I am sorry for the great grief that has come 
to you, my child. It is hard for you that he will not 
carry the light down through the ages—that he will 
never kindle the candles in this old Menorah and say the 
Chanukah blessing over them. 

Abraham: But it is I who have sinned—I- 

Mendelssohn: I know how you would shield him, Abraham. 
So would I have defended your brothers and you against 
blame; but my children were always faithful and obedi¬ 
ent. (Bising and approaching a little nearer.) Do you 
remember our home, your dear mother, who did not 
laugh at me when I dared to raise my eyes to her 
beauty, your sisters, your brothers—how all of you 
gathered about the table that last Chanukah before—I 
went away? 

Abraham (dreamily) : Yes, father—I sometimes see it now— 
as I see you—although my eyes are dark—as one sees 
things in a dream. We are sitting about the table—I 
am leaning upon mother’s knee—and you—you are 







THE UNLIGHTED MENORAH 


315 


lighting the first of the Chanukah candles. Because I 
am the youngest and have been ill, you let me say the 
blessing over the first candle. ( Whimsically) I wish I 
might say it now- 

Mendelssohn {in loving pity) : You may light the candles— 
and say the blessing, my son. ( Abraham gropes for 
the lighted candle on the other side of the table.) 

Abraham ( eagerly ): Give me the candle—the lighted can¬ 
dle, father. It is called the “Shammas”, isn’t it? Give 
me the candle, father. 

Mendelssohn ( placing lighted candle in his hand) : I have 
given you the lighted candle, my child. 

Abraham: Yes {joyfully), I feel the heat of the flame upon 
my eyelids. {Groping with his free hand) But I want 
the Menorah. {He touches the Menorah and draws it to 
him.) Now I will light it. {As his hand wanders over 
the Menorah a look of grieved surprise flits across his 
face.) Father, I do not think there is any candle here— 
I cannot find it. {Faltering) Boruch—boruch atto — 
{Brokenly) I remember the Hebrew of the blessing— 
but where is the candle? 

Mendelssohn {slowly) : My son, I gave you the light, but 
you have not been able to renew it; you cannot light 
your Menorah, for your son will never kindle the Cha¬ 
nukah candles in his own home, nor will his children 
after him. {He takes the lighted candle and replaces it 
across the table. Abraham bows his head over the 
empty Menorah and sobs like a child.) 

Mendelssohn {his hands lingering for a moment over Abra¬ 
ham’s bent head as though to bless him) : But if you 
still remain a good Jew, my son, the light of the Torah 
will always be a light to give you comfort in your dark¬ 


ness. 





316 


THE UNLIGHTED MENORAH 


Abraham: Father!—I must tell you, oh, father!- (He 

gropes to catch Mendelssohn’s hand; but Mendelssohn, 
shaking his head with a strange, wistful smile, passes 
out into the night. The music in the next room dies 
away, as Abraham, still half asleep, murmurs brokenly ): 
If I could only keep on dreaming—then I could see you 
father—for I am lonely and cold, and it is dark- 

(Felix enters from the music room and hurries to his 

father.) 

Felix: Father, what is it—are you dreaming again?—father! 

Abraham (pitifully) : The Menorah—I cannot light it—it 
is empty. 

Felix (puzzled) : Of course it is empty, father. Why should 
you want to light it? (Sits beside him and speaks en¬ 
thusiastically.) Do you know, father, that as I sat 
listening to mother’s playing, I had the finest inspira¬ 
tion for a new motif in my cantata of “St. Paul”. (With 
a boyish laugh.) Oh, you’ll be proud of me when you 
hear it! Why, by next Christmas it will be played in 
all the churches in Europe! (He breaks off to look 

i 

curiously at his father, who sits with his head bowed 
over the Menorah, sobbing like a child.) 

Abraham: And the Menorah—will never—be lighted! 





THE LIGHT OF ISRAEL 

A CHANUKAH PLAY 

In Four Acts 




























































































































































































































. 















































1 



































NOTES TO THE PRODUCER 


Unless ample time is allowed for the preparation of this 
play it is best not to attempt it, as the leading characters 
need intensive training, and the ‘‘mob” requires long and 
arduous rehearsals. Minor characters, like Johanan and 
Simon, should be in the hands of reliable boys who can be 
trusted to give the cues to the “mob”. 

If the actors know the Hebrew of the responses given 
in the last act, so much the better. They should be sung to 
traditional melodies found in the Union Hymnal; the longer 
portions may be sung as a solo by one boy, designated as 
the “Priest”, or divided among two or three of the actors. 

The scenery may be very simple, consisting of dark 
draperies. In Act I, the entrance of the house may be sug¬ 
gested by screens; slightly changed, they form the “tent” of 
Act II, while the rocks are formed by arranging boxes in an 
irregular mass and covering with stone-colored cloth; in 
Act III, a low dais, a graceful chair of Greek design, near 
by a brass bowl filled with red roses, and, if possible, a lion 
or bear skin upon the floor; in Act IV, if possible to build 
steps, one exit may be used to represent the entrance to the 
Temple. 

The “Altar” of Act I is a soap box covered with white 
cloth, carried on “runners”. The armor, swords, etc., may 
be rented or made by the actors themselves. The lamps 
carried in Act IV should be of the type known as “den 
lamps” and lighted with candles. If there is any sentiment 
against using a real Sefer Torah, a scroll may be made of 
brown paper; it must not be too large for a young child to 
carry easily. 


319 



320 


THE LIGHT OF ISRAEL 


The costumes should be in various colors, short tunics 
(and after Act I armor) for the boys, long flowing robes 
with veils or ribbon headbands for the girls. Hannah 
should wear a plain dark robe, sleeveless, a dark cord about 
her waist. Antiochus, his soldiers, the child Ezra and (for 
Acts II and III) Glaucus should all wear scarlet and gold; 
Antiochus also wears a long mantle trimmed with gold and 
a diadem. Eleazar carries out the color scheme of the scene 
by wearing a white robe with a red girdle and cloak. He 
should wear a white wig or have his hair powdered. In Act 
I, Glaucus wears pale blue tunic and rich purple cloak; in 
Act IV, only the tunic. The garment of Mattathias should 
be made from burlap or other rough material to suggest 
sack-cloth; he wears a long white wig. 



CHARACTERS 


Antiochus Epiphanes . 
Mattathias (of Modin). 
Johanan Caddis 
Simon Thassi 
Judas Maccabeus > . 
Eleazar Avaran 
Jonathan Apphus 

Glaucus . 

Salmon (of Modin). 

Eleazar .. y . 

Appelles . 

A Priest. 

Ezra . 

First Syrian Soldier. 
Second Syrian Soldier. 
A Little Child. 
Hannah. 

Leah. 


Tyrant over Israel 


His Sons. 


. A Friend of Judas 

. An Old Man 

.. Syrian Envoy 

Hannah’s Youngest Son 


Priests, Men and Women of Israel 



































































































































The Light of Israel 


PROLOGUE 

To be spoken by the little child of the play who carries 
a scroll in his arms. 

Soldiers wlio have fought for this our Law, 

Men of Peace who taught it to the young, 

Worthy mothers who have reared true sons 
To love the Law—to die for it—or live 
And walk before our God as worthy men— 

To you we give our thanks, our love, our praise. 

Our fathers left this precious gift to us, 

The Light of Israel—our young, foolish hands 
Must keep it glowing through the coming years, 

That other Jews, who follow us, may find 
The Light of Israel shining on their path. 


323 




ACT I 


The scene shows the exterior of the house of Matta- 
thias at Modin. Mattathias, a venerable old man, sits upon 
a low seat at the center, clothed in sack-cloth. Two of his 
sons, Jolianan and Simon Thassi, stand at the R. in watchful 
attitudes; Glaucus, richly dressed, enters L. and bows before 
Mattathias. 

Glaucus Oh, good Mattathias, I but lately come 

From Antioch, am amazed that in our streets 
The citizens of Modin mourn—like thee. 

Why dost thou dress in sack-cloth—bow thy 
head? 

(Mattathias does not answer. Glaucus turns 
to Johanan who has approached him.) 

Johanan Thou comest from Antioch? Surely thou dost 

know 

Antiochus, his heart raised high in pride 
At conquering Egypt, has decreed the Jews 
Must bow before his laws or suffer death. 


Simon Our father sent our brethren abroad 

That they may bring us tidings of the course 
The Jews adopt. Meanwhile he fasts and 
prays. 

Glaucus My Judas—is he with them? 

He hath gone 

Unto Jerusalem to bring us news. 

324 


Simon 


THE LIGHT OF ISRAEL 


325 


Mattathias 

Johanan 

Judas 

Mattathias 

Glaucus 

Judas 

Eleazar 


(Who has raised his head at mention of Jeru¬ 
salem, speaks sadly ): 

’Tis said Antiochus destroys the Law— 

His soldiers rend and burn the sacred scroll, 
And they who guard it suffer bitter death. 
(Breaking down) 

The Law—the Light of Israel, groweth dim. 

(As Judas hurries in at R.): ’Tis Judas! 

(Throwing himself before Mattathias )— 
Father, it is as thou hast feared: 

The city quakes beneath the tyrant’s tread, 
For he hath ravaged all Jerusalem, 

And from the sanctuary hath he ta’en 
The golden altar and the holy veil, 

The censers and the crowns and ornaments; 
The hidden treasure also hath he found. 

(Covering his face) : Why was I born to see 
my people’s woe, 

The holy city in the grasp of foes? 

(Judas rises and sees Glaucus. They embrace 

warmly.) 

(Slips a rich chain about Judas’ neck) : My 
Judas! I have missed thee while away. 

And I, my friend, missed thee. (Sharply) 

But thou hast come 

As to a feast—ashes on Jewish heads 

And sack-cloth are more fitting for our grief. 

(Eleazar, followed by the men and women of 
Modin, runs in at L. He kneels before 
Mattathias.) 

Father, I bring thee very bitter news; 
Princes and elders mourn throughout the land; 




326 


THE LIGHT OF ISRAEL 


The People 

Mattathias 

Salmon 

People 

Jonathan 


People 

Jonathan 


People 

Mattathias 


Virgins and young men—those who sit within 
The marriage chamber—all are bowed in grief 
Before this plague that overwhelms our race. 

(He rises.) 

Woe, woe for Israel! 

Woe for Israel’s Law! 

(From crowd ): Here cometh Jonathan, thy 
youngest son. 

(Entering with Jonathan , R.): Tell us thy 
news, thy news, 0 Jonathan! 

(Forcing his way to his father and addressing 
the people ): 

We have no strongholds left. This Syrian 
king 

Both near and far hews down our mighty men; - 
Women and children doth he sell for slaves; 
He takes our cattle. 

Woe for Israel! 

(Holding up his hand for silence )— 

Antiockus commands that every Jew 
Bring sacrifice unto the Grecian gods; 

Those who obey our Law he cruelly slays— 
Our holy places stains with martyrs’ blood, 
And scorns our Sabbaths, and our holy feasts 
Turns into mourning. 

God save Israel! 

(Brokenly) : Lord, let me die, for I have 
lived too long. 

(There is murmuring among the people. Then 
Glaucus, who has stood with his hand on 



THE LIGHT OF ISRAEL 


327 


Glaucus 


People 

Glaucus 


Judas 


Glaucus 


Child 


Judas’ shoulder, steps before them. He 
speaks lightly, almost mockingly.) 

Good friends of Modin, ye all know me well, 
A Jew, a townsman. 

(Interrupting) : What of Antioch? 

I grieve for Israel’s woe, yet hark to me: 

I have seen this Antiochus, your foe; 

He is a mighty man; none can resist 

His slightest word; obey and bow to him, 

And he will make you happy, honored, rich— 

(Points to his jewels, etc.) 

Refuse him your obedience— (shrugs his shoul¬ 
ders) —ye have heard 

The fate of those who cling to Israel’s Law. 

(Coming angrily to him): 0 men of Modin, 

ye have known this man 
As my best friend, the brother of my youth; 
And ye have heard him bid us fling away 
The faith our fathers held. Thus do I throw 

(Flings chain in his face) 

His latest gift back in his coward’s face, 

And with it fling my early trust and love! 

(Brokenly): My Judas! (He picks up the 
chain, turns, and is lost in the crowd.) 

(From crowd): Mother, see the man! 

(From the R. enter Appelles in the red robes 
of the Syrian officer, several soldiers, two 
of them carrying a small altar with ar¬ 
rangements for burning incense.) 





328 

THE LIGHT OF ISRAEL 

Appelles 

Be silent all. 

(Mattathias rises and stands leaning upon the 
shoulders of Johanan and Simon.) 

Salmon 

(Cringing) : Be silent—*tis the envoy of the 
king. 

Appelles 

(As the men set up the altar in the center of 
the stage) : Antiochus, our mighty king, 
decrees 

The Jews become as Greeks throughout his 
realm 

And render homage to the Grecian gods. 

Therefore, let every Jew make haste to show 

His swift obedience to the king’s command. 

(Glances about) Where is Mattathias? 

Mattathias 

Sir, I am he. 

Appelles 

Thou art a ruler and an honored man, 

And strengthened through thy brethren and 
thy sons; 

Now, therefore, come thou first—obey the 
king, 

And all thine house shall be as are his friends, 
And he will gold and honor freely give 

Unto thy children—sacrifice—and live! 

Mattathias 

(Beginning feebly, but growing in strength ): 
Though all the nations under his control 

Obey the king and leave their ancient faith, 
Yet will I and my sons and brethren walk 

In the same paths our honored fathers trod. 



THE LIGHT OF ISRAEL 


329 


Appelles 


Salmon 

Appelles 

Mattathias 


Mattathias 


Our God forbid that we forsake the Law, 

Nor to the right hand nor the left depart; 

(Stepping forward ) 

We will not hearken to the king’s command. 

Thou and thy sons shall perish for thy words. 

(Looks about him) But those who burn the 
incense shall be saved. (His glance falls 
upon the trembling Salmon.) 

Come thou and save thy life. 

(Waveringly): I am a Jew- 

Thou art a Greek now—cornel 

(Salmon approaches the altar. He puts out 
his hand for the brazen lamp to light it, 
but Mattathias seizes it and strikes him to 
the earth.) 

{Staggering back and clinging to Judas ): So 
perish every traitor to the Lord! 

(His sons crowd around him. The people cry 
out and rush between them and the Syr¬ 
ian soldiers.) 

{His old voice like a trumpet ): Those who 
are on the Lord’s side follow me! 


{The people snatch the spears from the Syr¬ 
ians and surround him as the curtain 
falls.) 





ACT II 


Before the tent of Mattathias in the mountains of 
Ephraim; Jonathan stands before it, leaning on his spear; 
Eleazar stands upon some rocks at L., looking down into the 
valley. 


Eleazar 

Jonathan 

Johanan 

Jonathan 

Eleazar 

Judas 


Jonathan 


See those who climb the mountain paths below, 
More refugees who seek for shelter here. 

Our camp grows to a city—others come; 

How can our scarcity of stores suffice for all? 

(Coming from tent): Our father has awak¬ 
ened; he w T ill speak 
To those who gather here. 

He grows more weak— 

His death would leave us as a flock of sheep 
Without a shepherd. 

(Coming down): If he dies, this wolf 
Antiochus will seize us by the throat. 

{In armor entering from the tent )— 

Let every man and woman of the camp 
Be summoned straight to hear our father’s 
voice. 

Go bring them, Eleazar. Jonathan, 

Blow on thy trumpet that the camp may hear. 

(Eleazar exits R. Jonathan climbs upon the 
rocks and blows a blast on his trumpet.) 

{Coming down): More women seeking safety 
from our foes! 

{A company of women, travel-stained and 
weary, enter from L. Leah, her child 
clinging to her dress, advances to Judas.) 

330 


THE LIGHT OF ISRAEL 


331 


Leah 


Judas 


Johanan 


Simon 


Mattathias 


Jonathan 

Mattathias 

Simon 


Long have we traveled, lord, to find this 
place. 

Our homes are burned; our sons and husbands 
slain; 

And if thou wilt not save us we must die. 

Small is our store of food and comfort here; 

Our army weak, untrained, unfit for war. 

Yet ye are welcome. 

Lo, the others come! 

(Enter from L. those who have taken refuge 
in the camp. The men are dressed in 
makeshift armor and carry rude weapons.) 

(Coming to door of tent, the scroll of the Law 
in his arms) : Mattathias will speak to us, 
his sons, 

And these, our brethren, who have followed 
him. 

(Gives the scroll to Jonathan, re-enters tent, 
and comes forward with Mattathias, now 
grown very feeble, leaning upon him. 
Mattathias has a sivord girded at his side.) 

The time hath come when I must go the way 

My father went. I die and leave my sons 

To fight the fight that I have ever fought. 

And ye, my people, give to them your hearts; 

Obey them gladly; place your trust in God, 

For in Him is our refuge and our strength. 

(He leans wearily on Jonathan’s shoulder.) 

Tell us, my father, who shall be our guide, 

To counsel us and lead us in the field? 

Simon! 

(Kneels before him) : Father, I am here. 





332 


THE LIGHT OF ISRAEL 


Mattathias 


Eleazar 

Mattathias 

Judas 

Mattathias 


Soldiers 


Judas 

Mattathias 


People 


A man of counsel hath he always been; 

Give ear to him; he will your father be. 

(Puts scroll in his arms) 

Guard thou the Law—the Light of Israel. 

(As Simon arises ): But who will be our cap¬ 
tain in the war? 

And where is Judas? 

(Kneels before him) : Father, at thy feet. 

(Ungirding his sword) : He hath been mighty 
even from his youth; 

Let him be captain, let him wage the war 

To save our people, and restore our Law. 

(Placing sword in his hands) 

Be thou a lion in the fight of God! 

(As Judas rises) 

Will ye accept him captain of your host? 

(Throwing down their cloaks before him in 
token of loyalty) : He is our leader—we 
will trust in him. 

(Girding on the sword) : Nay, brethren, trust 
in Him who leads our host! 

(His hands raised in blessing as they bow be¬ 
fore him) : Be valiant, 0 my sons, and 
show yourselves 

Men for the Law. My people, may our God 

Bless you and keep you, cause His face to 
shine 

Upon you; may He grant you lasting peace. 

(All remain kneeling while Mattathias retires 
into his tent. As they rise, Glaucus, in 
the uniform of a Syrian officer, followed 
by several Syrian soldiers, enters L.) 

The traitor—slay the traitor—kill the spy! 



THE LIGHT OF ISRAEL 


333 


Judas 


Glaucus 

Judas 

Glaucus 


Judas 


Soldiers 


(Raising his hand): Peace—peace, I say. 
(To Glaucus) What is thy message? 
Speak! 

(As people murmur amongst themselves ): I 
come as envoy from your rightful king. 

(As people interrupt with hisses): He comes 
as envoy—Silence! Let him speak! 

He sends me, for he knows I love right well 
My Jewish brethren (people murmur) —wish 
them every good. 

I ask you as a friend—pray hark to me! 
Why will ye strive against a mighty king? 

He is strong as God—the Jews are weak 
As little children; he hath men and gold 
To last through many battles—ye are few, 
Untrained, and have no weapons—no supplies: 
Yet will ye war against Antiochus! 

(Bitterly) : Thou sayest thou comest amongst 
us as a friend— 

I say the cruelest captain of thy king 
Would be less hated than a dog like thee, 
Who comest to mock us in thy Syrian dress, 
His gifts upon thine arms and on thy neck; 
Go—crawl back to thy master—tell him this: 
We Jews be starving in our mountain camp, 
Our men are few and ill-prepared for war; 
But we fight for a King before whose might 
The kings of earth are nothing. We will war 
Until but one Jew stands to face his foe— 
(Draws his sword) 

And when he falls, his watchword still shall be 
The watchword of his brethren: “Help of 
God”. 

(Drawing their swords) : This be our only 
watchword: “Help of God”. 



334 


THE LIGHT OF ISRAEL 


Glaucus 


Judas 


Judas 


People 


I’ll take your answer to my lord, the king. 

(Turns to Judas slowly) 

Perhaps we’ll meet no more—then ere I go, 
Bid me farewell—0 Judas—take my hand! 

(He approaches Judas with extended hands.) 

(Turning away): The man I loved is dead— 
he died that day 

He turned a traitor to his father’s God. 

(Glaucus tries to laugh , fails, and passes out 
L. with his soldiers, followed by the 
hisses of the angry people.) 

Be silent! When ye come upon the field, 

God grant your anger bum as brightly then. 

Now bid your wives and little ones farewell; 

Seek out your parents for a last embrace; 

If ve have friends—e’en as I had a friend— 

«/ 

(His voice breaks, and he continues with 

difficulty) 

First clasp their hands in parting ere we go. 
Then each man to his tent! Till trumpet 
sounds; 

Bow low in prayer before the Lord of Hosts, 
Who will deliver us with His strong hand. 

(Takes Law from Simon) 

And this, our Law, shall be before us borne, 
Our flag, the Jewel we fight for, the true light 
To shine upon our hearts and give us hope 
That God still thinks on us and shields our 
heads. 

He is our God and we will trust in Him. 

(The people pass quietly out R. Judas mo¬ 
tions his brothers to retire into the tent. 
He gives the Law back to Simon.) 




THE LIGHT OF ISRAEL 


335 


Judas 


Judas 


Now leave me, for I too would speak to God. 

(Simon enters the tent. Judas takes off his 
helmet and throws down his spear and 
sword. He sits upon rocks, and speaks 
simply, almost timidly, as a little child 
might speak.) 

0 Lord, Lord God, Creator of all things, 
Most merciful and strong and just and right, 
The One, the gracious King who giveth all, 

O Thou Almighty and Eternal One, 

Thou that deliverest Israel from all woe, 

And made our fathers holy in Thy sight: 
Deliver them that would the heathen serve— 
Yea, even him, my friend, the man I love— 
Gather together those now scattered far; 
Plant us, Thy people, in Thy holy place, 

And let the heathen know that Thou art God! 



ACT III 


A room in the palace of Antiochus at Antioch. It is 
splendidly furnished; a chair of Greek pattern stands on a 
raised dais in the hack of the room. At the foot of the dais 
is spread a lion’s skin on which little Ezra, a beautiful hoy, 
dressed in rich Syrian garments, lies asleep. His scarlet 
scarf has fallen off and lies on the rug at his side. Anti¬ 
ochus, clothed in a scarlet robe with muny jewels, enters R. 
talking to Glaucus, ivho still wears Syrian uniform, 


Antiochus 


Glaucus 

Antiochus 


Glaucus 

Antiochus 


These Jewish curs shall yelp beneath my heel; 
Soon will they crave to eat the flesh of swine 
In their mad hunger! ( Sees child) Ah, ’tis he, 
The youngest son of Hannah—her one child. 

Nay, king, but Hannah mothered seven sons. 

(Seats himself on dais) : While thou didst 
seek out Judas, they -were brought 
Before me with their mother. My command 
To eat of swine’s flesh mocking disobeyed; 
They were all slain with tortures terrible, 
Save him, the youngest. He’s too fair a flower 
To wither in my dungeons—he’s too young 
To slay. ( Laughs) By Bacchus, I grow kind! 
I sent for him; will treat him as my son, 
And shower gifts upon him, as on thee, 

If he will but obey me, serve my gods, 

And mock the Law for which his brethren 
died. * 

And Hannah—his poor mother—where is she? 

She lies in prison. I will send for her 
To plead with Ezra. Her torn heart is sore 
At slaying of the others. She will yield 
And bid the boy yield also. Wake him now. 

336 


THE LIGHT OF ISRAEL 


337 


Glaucus 

Ezra 

Glaucus 

Ezra 


Antiochus 


Ezra 

Antiochus 

Glaucus 


Antiochus 


(Bending over boy): Ezra, awake! 

(Sleepily ) : My mother, where art thou? 

The king would speak with thee. 

(Rising) : Why am I here? 

Last night I slept within a dungeon dark; 

I wore mean robes, now I am dressed in these; 

Thy servants mocked at me, and called me a 
prince. 

Thou hast been brought here since I love thee 
well, 

And fain would save thee from the awful 
death 

Thy brothers tasted. Come, child, do not 
weep, 

For unto thee I will be merciful. 

(Controlling himself with an effort): And 
she, my mother, is she also dead? 

Nay, thou wilt see her shortly. 

(Who has gone to R. door, returns )— 

Gracious king, 

My men have come here with a worthy Jew; 

This old man, gray and honored, they would 
drag 

Straightway to torture. For thy love of me, 

Pray bid them bring him here, before thy 
face, 

That thou may’st judge and save his age from 
shame. 

Lead him before me. (Ttuo soldiers bring in 
Eleazar, a very old man leaning on a 
staff.) 

What is his offense? 




338 


THE LIGHT OF ISRAEL 


First Soldier 


Glaucus 

Antiochus 


Eleazar 

Antiochus 

Eleazar 


Great king, this wretched man doth boldly 
laugh 

At thy commandments; hold thy word to 
scorn; 

He will not eat of swine’s flesh; here he stands 

Brought to the torture as thou didst com¬ 
mand. 

Oh, save him, king! He is an aged man; 

Let not cruel torments vex a man so old; 

Spare his gray head and let him die in peace. 

I, of my love for thee, will spare his life. 

(To Eleazar ) But one thing I demand ere 
thou depart: 

Thou wilt be spared if, in the market place, 

Thou wilt eat food that thou dost thyself pro¬ 
vide ; 

My officers will say the flesh is swine, 

And many, seeing thee, will straightway eat 

As I command them. Wilt thou do this 
thing ? 

(Quietly ): It ill becomes mine age, Anti¬ 
ochus, 

To teach the young to disobey God’s Law. 

If thou dost not obey me, thou wilt die. 

I will not take this stain upon my soul; 

Rather I choose to die to prove my faith, 

And show myself such as mine age requires. 

(His hand on Ezra’s head, who has crept to 

him ) 

Now let the young die willingly as I. 

(Rising angrily ): Slay him, and show no 
mercy in his death! (Two soldiers lead 
him away L .) 


Antiochus 




THE LIGHT OF ISRAEL 339 

Eleazar 

Yea, I am well content to suffer pain 

Because I love the Lord for whom I die. 

Glaucus 

Antiochus, friend, spare him for my sake. 

Antiochus 

(Sitting ): Let his God save him since he 
trusts in Him. 

(Soldiers enter L. leading Hannah, a frail, 
sorrowful woman, clad in dark robes.) 


Second Soldier This is the woman Hannah. 


Ezra 

(Running to her): Mother dear! 

Hannah 

(.Holding him to her) : My one, my only one— 
oh, cling to me! 

Thee have they spared me from among my 
boys— 

My Ezra—my heart’s flower—little son. 

(She holds him in her arms and murmurs lov¬ 
ingly over him, while Glaucus turns away.) 

Antiochus 

Take the boy from her. Woman, stand apart. 

(The soldiers separate them) 

If thou dost love thy child- 

Hannah 

(Sobbing ): Oh, king, my boy! 

Antiochus 

If thou dost love him, thou wilt save his life. 
Thou knowest how thine other sons were slain. 

Hannah 

{Falling before him and clinging to his robe): 
0 mercy, king; he is so small, so weak; 

I gave the others- 

Antiochus 

{Shaking her off): Listen! Unless thou, 

His mother, canst persuade him to obey 

My laws, forsake his creed and be a Greek, 
He, like thine other sons, will suffer death. 

In this hand hold I friendship, honor, life— 
In this hand hold I slow and painful death; 
Help him to choose between them. 

{A long silence; finally Hannah raises her 

head.) 





340 


THE LIGHT OF ISRAEL 


Hannah 


Hannah 


Antiochus 

Ezra 

Hannah 


Antiochus 


Bring him here, 

That I may kneel and plead with my last 
child, 

And bid him choose the wisest gift thou hast. 
(Antiochus nods to the soldiers. They release 
Ezra, who runs to his mother. Still on 
her knees, she clings to him. He tries to 
hide his face on her shoulder, but she 
takes his head between her hands and 
forces him to look at her.) 

My little boy, my baby, my last child— 

I, thy sad mother, have done much for thee 
Since first I bore thee—held thy little hand 
When thou didst learn to toddle from my 
chair, 

Sang thee to sleep each evening, every morn 
Awoke thee with a kiss. 0 little son, 

I asked no thanks for this until today: 

Today I beg that thou wilt pay me back 
For all my sleepless nights, my hours of care— 
0 little son, break not thy mother’s heart! 

(She draws him to her, kissing him passion¬ 
ately.) 

(To Glaucus) : She will not give him up; the 
lad will yield. 

What is it, mother, thou wouldst have me do? 

I beg thee not to break thy mother’s pride 
By bowing to this tyrant. I have taught 
The Law to thee. Obey it even now, 

And die as bravely as thy brothers died. 

So thou dost mock me? Bring the boy to me. 
(The soldiers bring him to Antiochus) 

Now thou shalt answer. Dost thou choose to 
live 

In this fair palace—servants everywhere 



THE LIGHT OF ISRAEL 


341 


Ezra 


Antiochus 

Ezra 

Hannah 

Ezra 

Glaucus 

Antiochus 


Antiochus 


To do thy bidding—dress in red and gold— 
Or dost thou then prefer the torture fire? 

King, I am but a lad. Until this day 
I knew no choice between the good and bad; 
My mother’s voice hath been my only law; 
Her words were clear to me—and I obey— 
Proud that I have a mother such as she, 
Proud that my brothers suffered death for God, 
Proud that she finds their loyalty in me! 

Be silent! 

(To soldiers ) Take the braggart to his death. 

(As they take him past Hannah) : I’m not 
afraid—but, mother, come with me. 

(Stretching out her hands to him) : Ezra! 

(The soldiers thrust her aside and take him off 
L. She falls upon the rug and buries 
her face in the silken scarf Ezra has left 
there.) 

(To Antiochus, who has risen) : Oh, show 
him mercy for his mother’s sake! 

( Sharply ): Thy softness ill becomes a soldier, 
friend! 

Go thou at once; tell those who torture him, 
If he relents at any time, he lives. 

(Glaucus leaves L., with a backward glance at 
Hannah, ivho lies motionless.) 

(Coming to her and speaking to her mock¬ 
ingly) : Thy last son slain, and him I 
would have spared. 

Ye Jews prate often of the love ye bear 
Your children. Surely thou art mad— 

A Jewish mother slaying all her sons. 
(Hannah rises, the scarf in her hands. She 
does not seem to hear Antiochus.) 



342 

THE LIGHT OF ISRAEL 

# 

Antiochus 

Although thou askest not, I spare thy life! 
Thou shalt live on, a memory to thy faith; 
When thou dost pass the Jewish folk will cry: 
“There goeth Hannah, last of all her race— 
Mad Hannah, she who gave her sons to death. 
She trusted God. He was not there to save.” 

(Goes to R. door and pauses to laugh mock¬ 
ingly.) 

Pray to thy God, 0 Hannah; He is strong, 
Yet did not save one only son for thee. 

(Antiochus goes out laughing. Enter Glaucus 
from L. Hannah remains motionless, star¬ 
ing before her; tries to speak — fails.) 

Hannah 

(With an effort) : And—is—he—dead? 

( Glaucus nods, unable to speak.) 

Hannah 

And—he—was—not—afraid ? 

Glaucus 

(With difficulty) : He died most manfully, 
giving praise to God. 

Hannah 

I thank Thee, God, that Thou didst make him 
strong. (She walks aimlessly to the edge 
of the dais, where she stands fondling the 
scarf .) 

Glaucus 

(Suddenly): I know that He is God, and 
none beside, 

When old and young take joy to die for Him. 

(With a sudden impulse he pulls the jewels 
from his neck and arms and flings them 
to the ground. He tears off his sword 
and breaks it across his knee.) 



THE LIGHT OF ISRAEL 


343 


They—they have shown how base a thing I am. 
No longer will I wear the tyrant’s robes, 

No longer wear his chains about my throat. 
I’ll to the mountains, bow myself in shame 
Before the feet of Judas, my old friend— 
Beg him to let me take the field with him, 
And die a clean man fighting for my God! 

{He comes humbly to Hannah and kneels 
before her.) 

Thy blessing first, 0 mother of strong men! 

{For a moment Hannah does not answer. 
She rises, holding the scarf to her breast. 
She mechanically places her hand on the 
man’s bowed head, but she looks dreamily 
away through the door through which they 
have taken Ezra.) 

{Wearily) : Would I had died—as they, my 
sons, have died. 


Hannah 



ACT IV 


Before the Temple at Jerusalem. At the R. steps lead¬ 
ing into the Temple. At L. a stone seat where Hannah sits, 
still dressed in mourning garments. Women and children 
come running in from L. Some carry palms, others flower¬ 
ing houghs. They look hack toward L., then gather at the 
center of the scene. 


A Woman 
A Woman 
A Woman 
A Woman 

Women 


People 

Judas 


Leah 


Judas! Behold lie comes, a conqueror! 

A hammer to the heathen hath he been. 

He hath restored Jerusalem to us. 

God taught his hands to war and save our 
land. 

Hail, Judas, our deliverer and our king! 

(Judas Maccabeus enters at the head of his 
soldiers, among them Glaucus, in the dress 
of a common soldier. Simon walks heside 
Judas carrying the scroll of the Law. 
Some women throw their branches before 
Judas. All shout his name. Several 
priests follow.) 

Hail, Judas, our deliverer and our king! 

(Holding up his hands for silence )— 

Nay, not your king, my people; rather praise 

The Lord of Hosts—beneath His wings we 
rest— 

And He from out the net hath plucked our 
feet. 

(Coming forward with her child )— 

Deliverer of Israel, let my child 

Bow down to kiss thine hand, that he may tell 

His children’s children of this glorious day. 

344 


THE LIGHT OF ISRAEL 


345 


Judas 


Priest 


A Woman 


Judas 


Judas 


The God of Jacob shall they praise, not me, 
For I was but a sword within His grasp. 

(The child slips away, and is seen to enter 
the Temple a few moments later.) 

(Singing from the Temple steps, other priests 
clustering about him )— 

Give unto the Lord, 0 ye sons of the mighty, 
Give unto the Lord glory and strength. 

Give unto the Lord the glory due unto His 
name; 

Worship the Lord in the beauty of holiness. 
The heathens have defiled our holy place. 

(Wailing among the people.) 

(To his soldiers): Go ye within the Temple 
and destrov 

The images and altars that they made. 

(The soldiers pass into the Temple with the 
exception of Simon, who stands holding 
the scroll, and Glaucus, who goes to the 
bench where Hannah crouches.) 

(To the priests): Ye priests who take your 
pleasure in the Law, 

Cleanse ye the sanctuary—build anew 
An altar to the God who saveth us. 

Make ye new holy vessels—straightway bring 
The candlestick, the incense and the lamps; 
Sound harps and cithern; let your voices rise 
In praise of Him who leadeth us to war; 

And let this dedication for eight days 
Continue for His glory and His name. 

(The priests pass into the Temple. The 
women gather about Hannah as though to 
comfort her. Glaucus comes humbly to 
Judas .) 



346 


THE LIGHT OF ISRAEL 


Judas 

Glaucus 

Judas 

Glaucus 

Judas 

Glaucus 

Judas . 

Johanan 

Priest 

Simon 

Child 

Leah 

Priest 


[In a tone of command) : Go thou within the 
Temple with the rest. 

If—I am too unworthy to go in, 

For I have sinned against the living God. 

(Coldly) : Thou hast fought as a valiant man 
for Him— 

He will forgive thee and forget thy sin. 

( Pleadingly) : Thou—thou wilt not forgive 

me—nor will He. 

[Struggling with himself and turning away) : 
I have forgiven thee- 

(Catching his hand): ’Tis not enough— 

Give me thy brother love—thine early trust— 
Then / only dare I think that God forgives. 

(Giving him both hands, over which Glaucus 
bows his head) — 

Peace, brother! All is well ’twixt thee and me. 

(Soldiers come from the Temple.) 

We have destroyed the heathen images. 

(Appearing upon the steps )— 

We cannot light the lamps—there is no oil, 
Save that polluted by the Syrian’s hands. 

No holy oil—the lamps remain unlit! 

(Running to Leah and giving her a cruse) — 
0 mother, see the cruse of oil I found 
While playing in the Temple—see the cruse! 

( Holding up the cruse) : ’Tis still unopened, 
ready for the lamps! ( She takes it to 

the priest.) 

(Raising it, that the people can see )— 

A miracle—a miracle of God— 

This sacred oil shall fill the holy lamps. 

(Goes back to Temple.) 




THE LIGHT OF ISRAEL 


347 


Judas 

(To the women) : Mothers of Israel, join in 
the song 

The priests and soldiers sing unto the Lord, 
And bear aloft fair boughs and waving palms, 
That we may enter, as in days of old 

Our father David went unto the Lord. 

(The priest appears upon the Temple steps. 
The other priests come down, carrying 
lighted lamps.) 

Priest 

The Lord of Hosts is with us. 

People 

The God of Jacob is our Refuge. 

Judas 

(Taking scroll from Simon) : Our Law—our 
Light—shall first be carried in; 

The worthiest shall bear it. Who is he? 

People 

Thou! Thou, 0 Judas! 

Judas 

Nay, friends, let it be 

The one who suffered most for Israel. 

Glaucus 

(Drawing Hannah fonvard) : Hannah, who 
gave to God her dearest joy, 

Her seven sons—she is the worthiest. 

People 

Aye, give the Law to Hannah. 

Hannah 

(Who has drawn herself up proudly, now 
bows meekly before Judas )— 

Who am I? 

A mother in Israel whom the Lord hath 
blessed 

With worthy sons. No honor can I claim, 

But thank our God for whose great name 
they die. (Steps back among women.) 






348 


THE LIGHT OF ISRAEL 


Judas 


Priest 

People 

Priest 


(His eyes falling upon Leah’s child): The 
child shall bear the Light of Israel! 

(Puts scroll into the child’s hands and takes 
him to the priest.) 

When we have done our work and gone our 
ways, 

The child shall hold aloft the sacred light 
Till every nation bows before our God. 

0 God of Israel, after weary months 
Of toil and heartbreak, Thou hast led us back, 
Back to our Temple and our rescued shrines, 
Back to the longed-for, holy hills of home! 
With trembling hands we light the sacred 
lamps, 

We watch the altar flames ascend to Thee— 
Take Thou our hearts, a lowly sacrifice, 

Our hearts that thirsted for Jerusalem. 

(They form a procession at the foot of the 
steps; first the child with the scroll, then 
the priests, some with lamps, some with 
palms and branches, finally the stringed 
instruments; next the women; the soldiers 
with Judas at their head. Hannah stands 
by the bench. The priest remains on the 
steps of the Temple.) 

(Singing): Lift up your heads, 0 ye gates, 
And be ye lift up, ye ancient doors; 

And the King of Glory shall come in. 

Who is the King of Glory? 

The Lord, strong and mighty, 

The Lord, mighty in battle. 

Lift up your heads, 0 ye gates; 

Yea, lift them up, ye ancient doors; 

And the King of Glory shall come in. 




THE LIGHT OF ISRAEL 


349 


People 

Priest 


Priest 


People 


People 


Who is the King of Glory 1 ? 

The Lord of Hosts, 

He is the King of Glory. 

(For a moment there is heard only the 
stringed instruments borne by the priests 
and the joyful sobbing of the women. 
Then the priest mounts to the highest 
step.) 

Into the Temple to give praise to God! 

(The people move forward, singing songs of 

praise.) 

0 give thanks unto the Lord; for He is good; 

For His mercy endureth forever. 

Let Israel now say 

That His mercy endureth forever. 

Let the house of Aaron now say 

That His mercy endureth forever. 

Let them now that fear the Lord say 

That His mercy endureth forever. 

(They pass, singing, into the Temple. As 
the last soldier disappears, Hannah starts 
to follow them. She reaches the steps, 
hesitates, sinks down upon them, her head 
on her arms, weeping. Above her sob¬ 
bing comes the song of triumph from the 
Temple.) 

(Within): Let them now that fear the Lord 
say 

That His mercy endureth forever. 







1 



























II ■ II 


■ 

























■ 













A SICK PURIM 


A MODERN PURIM PLAY 


In One Act 

















NOTES TO THE PRODUCER 


The little play can be produced on even a very small 
stage by a judicious arrangement of the furniture. It may 
be given at the end of a vestry or school room; if no cur¬ 
tains can be obtained, high folding screens may be used. 

For beds, it is possible to use cots, or even couches or 
arm-chairs, covering them with blankets. 

The sick children should be dressed for the night, the 
boys in flannel pajamas, the girls in flannel night-robes or 
pajamas. The nurse wears the conventional uniform, which 
may be suggested by a. striped blue and white house-dress 
and white apron and cap; the children from the party wear 
pretty party clothes. The “dress-up clothes” assumed dur¬ 
ing the play should be used for several rehearsals; if there 
is any difficulty in putting them on, the actors, by pre¬ 
arrangement, should help each other during the scene. 
Kitty’s crutch, if found undesirable, may be omitted, the 
child having one foot bandaged to suggest a cast, and drag¬ 
ging it as she walks. The play should be given in a spirit 
of frolic to suggest the old Purim-spiel. Though there should 
be no burlesquing of the scenes between Mordecai and Esther, 
Esther being the one “straight” part in the little play, as 
much by-play as possible should be introduced), the children 
being urged to suggest any humorous “business” that occurs 
to them. 

Vashti’s dance may be any fancy dance learned at 
dancing school. It is always possible to secure an appro¬ 
priate record for accompaniment; if a Victrola cannot be 
obtained, the music can be played upon a piano. Any suit¬ 
able Purim song may be introduced. 


353 



CHARACTERS 


Miss Jacobsen . The Night Nurse 

Kitty . A Lame Girl Who Walks with a Crutch 

Samuel . A Boy of Nine 


(Just getting over Measles, and very cross) 

Leah, his Sister (hardly sick at all).. About Seven 

Max . Just Admitted to the Ward 

(Very cross at missing the Purim Party) 

Ruth. 

John (who has just left the sick room). 

Sarah. 

TIME—Erev Purim, about 8 o’clock. 

PLACE—Hospital in Orphanage. 







A Sick Purim 


PROLOGUE 

To be spoken before the curtain by Miss Jacobsen, 
wearing her nurse’s uniform. 

Good Purim, dear children! I’m sorry to say 
We can’t all be together on this happy day. 

There are four little children, as cross as can be, 

Who’ve been scolding and crying and pleading with me. 
These four little dears in an orphanage dwell, 

Where most of the youngsters are happy and well, 

And keep merry Purim with laughter today; 

But Leah and Kitty, Max and Sam stay away 
From the gay Purim party, because they are sick 
With measles. 

{Loud groans and crying behind the curtain; she listens, 
shakes her head despairingly, and turns to audience .) 

Good bye! 

{More crying and scolding behind the curtain; she goes 
toward the right exit.) 

I must go to them quick— 

I’ll tuck them in bed. I’m afraid, children dear, 

These children will have a sick Purim this year. 

(Runs off as the noise grows louder and the curtain 
rises upon the scene of the play.) 


355 




A Sick Purim 


As the curtain rises, Miss Jacobsen, dressed in a nurse’s 
uniform, is seen trying to coax Samuel, already in pajamas, 
to go to bed. The scene represents a sick ward. To the left 
of the audience two wash-stands, covered with white towels, 
on which stand tooth-brush mugs, wash-bowl and pitcher. 
A rack for towels. At the extreme right end of room, a door 
leading into the hall. Near door, a table covered with 
bright tidy, on which stands a flowering plant, several toys, 
books, etc. Against the back wall, feet toward the audience, 
stand four little beds, the clothes of the occupants neatly 
folded on chairs near by. Next to the back wall, about the 
center, stands an open victrola. In the beds, tucked up for 
the night, are Kitty, Leah and Max. Miss Jacobsen stands 
in the center of the room trying to force Samuel gently into 
bed. 

Miss Jacobsen ( coaxingly ): Now come on and jump into 
bed, Sammie, and you’ll get a nice baked apple tomor¬ 
row morning for your breakfast. 

Samuel ( crossly ): I’m sick of baked apples and toast and 
all your baby food. I want to sit at the table and chew 
like everybody else. I’m sick of eating in bed. 

Miss J. (drawing him toward the empty bed ): Well, the 
doctor said you could leave the ward tomorrow if you 
were all well again. 

Samuel (examining arms and chest) : I’m well now. I 
haven’t got a single measle left. And I’m going down to 
the Purim party. (Starts for the door.) 

Leah (from her bed): Oh, brother, come back. You can’t 
go in those clothes. 

Samuel (threatening her): You keep still. 

Miss J.: Samuel, that is no way to talk to your sister. 

356 



A SICK PURIM 


357 


Samuel: I can’t help it if she’s my sister, can I 1 ? And she 
don’t need to think she can boss me. And I can, too, go 
any place in these clothes. It’s Purim, and on Purim 
yon can dress up as funny as you want to. 

Miss J.: Well, I can’t have you catching cold, even if you 
are a bad boy. (She picks him up, puts him in bed and 
calmly covers him up in spite of his struggles.) Now 
stay there or I don’t know what I’ll do to you. I’ve 
been nursing in orphan asylums for ten years and you’re 
the worst boy I ever found in any of them. 

Leah ( anxious to defend him) : He isn’t a very bad boy, 
Miss Jacobsen. He’s just worse ’cause he don’t like 
having the measles. 

Kitty: Well, I don’t like having them either. But it’s just 
like being an orphan or being lame or having freckles 
in summer. Only measles are much nicer. You get over 
’em sometime. 

Max (suddenly burying his head in his pillows and bursting 

into sobs): Boo—boo—boo-! I wanted to go to 

the Purim party. 

Miss J. ( going to comfort him) : Be a sensible boy, Max. 
You know you can’t be with the other children when 
you’ve got the measles. They’d get sick, too. 

Max ( sitting up and speaking savagely) : I wish they’d all 
get sick—I wish every child in this orphan asylum would 
get measles all over his face. I do! 

Leah (shocked) : It’s bad to wish that. 

Kitty: Sometimes when people wish bad things they come 
true. 

Max: I wish they would. If everybody else in the asylum 
got the measles they wouldn’t have to keep us up here 
all by ourselves. We could have a big party all to¬ 
gether. (Bitterly) I wouldn’t care so much if I hadn’t 
got sick just this morning. Why didn’t the old measles 
wait another day and I could have gone to the party! 





358 


A SICK PURIM 


Miss J. ( soothing him ): There—there—don’t cry. You’ll be 

well before you know it, and then we’re all going to the 

circus. Everyone of us. 

«. 

Kitty: And see the fairy lady who rides the horse 1 ? 

Leah: -and the tumbling men ? 

Samuel ( forgetting to be cross): - -and the performing 

tigers and lions- (growing gloomy again) But I 

don’t expect to go. On the day before the circus I’ll 
break my neck or leg or something, and have to stay in 
bed for a month. I always do. 

Miss J.: Children, you must stop talking. Max, let me take 
your temperature before you go to sleep. ( She takes 
out thermometer, puts it in his mouth and reads it.) 
Now lie still or you’ll run up a temperature. 

Max: What’s that ? 

Leah ( proud of her knowledge) : It’s something horrid. I 
had one last week. 

Samuel: Aw, stop your bragging. 

Miss J.: Quiet, everybody! ( She goes from bed to bed, 
turning pillows, tucking up, etc. Turns out light except 
bulb near door.) 

Samuel (whining) : Miss Jacobsen, I want another drink, 
please. 

Miss J. (at door) : Why, Samuel, I gave you two glasses 
since supper. 

Samuel: But m 3 7 throat is hot and thirsty all the time. 

Miss J.: Then you have a fever, and I’ll have to give you 
some more of those black pills. 

Samuel (hastily) : I’m not thirsty any more. My throat 
feels fine. (Sweetly) Have a nice time at the party, 
Miss Jacobsen. 

Miss J.: Thank you. Good night, children. 






A SICK PURIM 


359 


Children: Good night! 

(Miss Jacobsen goes out, leaving the door open. For a 

minute or two there is silence. Then from the party comes 

the sound of music, laughter, applause.) 

Kitty ( wistfully ): They’re giving the Purim program now. 

Leah: Last year I did a special dance between the acts of 
the play. Everybody said it was wonderful. 

Samuel: I’d rather be here in bed with the measles than 
have to see you dance it again. 

Leah ( throwing her pilloiv at him): You’re the meanest 
brother in the world. 

Max: Ssh—or Miss Jacobsen’ll come up and give us fits. 
Remember how I was the king, and wore a gold crown 
and a red robe and everything 1 ? 

Samuel ( warming up a little) : Nobody in the back seats 
could hear you, but they all said you looked fine any¬ 
how. And remember how you had them hang Haman- 

Kitty: I’ve always been so sorry for Haman. 

Samuel: Sorry for Haman 1 ? 

Max: Whv, he was a bad man. 

Kitty : Maybe he couldn’t help it. Maybe when he was lit¬ 
tle his mother never sent him to a Sabbath School or 
anything. 

Leah: That doesn’t make any difference. Now there’s my 
brother Samuel. If you kept him in the best Sabbath 
School in the world from Saturday morning till next 
Saturday night, he’d be as bad as ever. 

Samuel ( furiously ): You keep still., (He flings back her 
pillow, adding his own for good measure.) 

(A sound at the door.) 

Leah: See what you’ve done. Miss Jacobsen heard you, and 
now she’ll scold all of us just because you’re bad. 





360 


A SICK PURIM 


Max: Ssk! Pretend you’re asleep. 

(They all draw the cover up to their chins, Samuel even 
pretending to snore. Through the open door creep two girls 
and a hoy dressed in their holiday best. The hoy turns on 
the lights and reveals himself as John, a bright paper cap 
on his head, a plate of ice cream in one hand, a hag of 
candy in the other. Ruth folloivs him, also wearing a paper 
cap,' she carries a plate of cookies. Last comes Sarah, wear¬ 
ing a black mask and carrying a basket of fruit.) 

Leah ( sitting up in bed) : Well, what do you want? 

Kitty: You’d better run out of here quick, or you’ll catch 
the measles. 

Sarah ( putting fruit on table): No, we won’t. We’ve all 
had ’em, and Miss Jacobsen says you can’t catch them 
again right away. 

John ( putting his contributions on table) : We grabbed 
these for you at the Purim party- 

Ruth ( taking off her mask) : And came up here without 
anybody seeing us. (Puts cookies on the table.) I 
brought all the cookies I found in the pantry. ( Holds 

one up.) Aren’t they funny? Shaped like a little 
pointed hat! 

Sarah: They’re called IJamontaschen—Haman always wore 
a cocked hat like this ( points to her paper cap). 

Kitty: Remember Haman in the play last year? Oh, I wish 
we could have another play! 

John: Let’s have a Purim play. It’ll be more fun than their 
program down stairs. 

c 

Samuel: We don’t know the parts. 

Leah: I do. I went to every rehearsal last year just to 
watch the others, and I know almost every word in it. 

Kitty: So do I. 




A SICK PURIM 


361 


Sarah ( sitting on Leah’s bed ): My brother was Mordecai 
last year, and I had to teach him his part. I know 
every word of it. ( Shaking her fist and speaking 
fiercely ): No, cursed Haman, never will I bow before 
thee—Never!— Never— NEVER! 

Ruth ( running up to them) : And Max was the king last 
year, too. You’ll be king, won’t you, Max? 

Max ( sitting up and glaring at her) : I will—not! I’m sup¬ 
posed to be sick with a temperature—whatever that is— 
and, anyhow, I couldn’t be a king dressed in pajamas; 
and, moreover, I wouldn’t be one just now for any¬ 
thing. I’m sick. ( Gets under the covers and pretends 
to be asleep.) 

John and Ruth ( forcing him to sit up) : Come on—and play 
it. You made a grand king—be a sport, etc. 

Max ( whining): How can I be a king on an empty stom¬ 
ach? Miss Jacobsen wouldn’t give me a thing to eat 
for supper but chicken broth and toast. She wants to 
starve me. 

John (rushing to table and bringing him an apple and a 
handful of cookies) : Here’s something to keep you go-* 
ing till breakfast. 

Sarah and Leah (ivho has jumped out of bed and put on 
kimono and bedroom slippers which were on her chair) : 
Now you’ll play the king, won’t you, Max? Please, 
Max — yes, Max. 

Max ( his mouth full) : I feel too sick. 

Ruth: You’ll forget yourself when you start acting. ( She 
and John drag him out of bed , put on his bathrobe and 
slippers, and fasten John’s hat on his head.) 

John: Three cheers for King Ahasuerus! 

Max ( sulkily) : I won’t play— I’m too sick. 

Ruth ( dragging him to table): Take some more cookies. 



362 


A SICK PTJRIM 


Max ( sitting down before table and gulping down ice cream 
as soon as they turn aicay) : I feel too sick to eat. 

Leah: Now who’ll be Ilaman? ( Laughingly) Let Samuel 

play Hainan. He’s so cross and cranky tonight he can 
be Iiaman just fine without a rehearsal. 

Samuel ( making a face at her): Smarty! Just for that I 
won’t play. 

ft. 

Sarah: All right—then I’ll act Iiaman. 

Samuel ( jumping out of bed in alarm) : You can’t do it 
right, ’cause you’re a girl. I remember a lot of it from 
last year, and I can make it up as I go along. ( Sits on 
floor and imts on his slippers.) 

Kitty ( getting painfully out of bed and reaching for her 
crutch on the chair) : Will you do your dance, Leah? 

Leah: Of course. ( Samuel groans, but she pretends not to 
hear him.) And I guess I’ll be Queen Esther, too. I 
remember most of her part. 

Kitty: I wish I could be Queen Esther just for once—but 
a queen can’t be lame, can she? 

Leah ( after a minute’s hesitation goes to her and kisses her): 
I don’t see why not. You play Esther. I’d rather act 
Yashti, anyhow. 

Kitty ( throwing her arms around her) : You’re just the 
nicest girl I know. 

Samuel ( struggling into bathrobe) : Mush! 

John: Well, I’ve always wanted to take the Fool’s part- 

Max ( over his shoulder, his mouth full) : You can do that 
without any rehearsing- 

Ruth: And I’ll take the parts nobody else wants; I’ll be the 
Scribe and the Messenger and all the Courtiers and 
everybody. 





A SICK PURIM 


363 


Samuel: She thinks she’s the whole show. 

Leah: Now we’ll have to dress up for it. Whatever will we 
wear ? 

Sarah ( clapping her hands joyfully ): Goodie—Goodie! I 
know! I know! 

Samuel: Better tell somebody then, instead of jumping 

around like crazy. 

Sarah: Boys, just sneak into Miss Jacobsen’s room across 
the hall and bring in her trunk. When I was getting 
over the chicken-pox up here she showed me all her 
party dresses and we had a lovely time. And bring her 
new hat, too, if you can find it. But be awful quiet. 
(All the boys go out on tiptoe.) Now, girls, let’s fix the 
stage. 

Leah ( pulling two more chairs up to table) : Here’s the 
table and three chairs for the banquet- 

Ruth ( helping Sarah move one of the beds to the front and 
placing it lengthwise) : This will be a fine throne (piles 
it high icith pillows from the beds and covers them 
all with a bright rug from the floor). And, Kitty, put 
a chair over there (pointing left) for Vashti’s bedroom. 
(Kitty obeys.) 

Leah (from door) : Here are the boys with the trunk. Let 
me open it. 

Samuel (pushing her away) : You always want to be first 
at everything—get away. (While they are quarreling, 
John opens the trunk and begins passing out the gar¬ 
ments. ) 

John: Here are some kimonas, girls—and a red plush bath¬ 
robe — 

Max (wrapping himself in it and struggling up and down) : 
Make way for the King Ahasuerus—make way for the 
King of Persia. 









364 


A SICK PURIM 


Leah ( dressing herself in a pretty blue kimona ): I’ll look 
just like Vashti as soon as I let my hair loose ( begins 
to tug at her hair ribbons ). 

Sarah: Kitty, you’ll look perfectly lovely in Miss Jacobsen’s 
white party dress. I’ll just have to pin it up for you 
( begins to help her dress), and Ruth, find me something 
for her hair. 

Ruth ( after diving into trunk) : This lovely beaded shawl 
over your head and shoulders—Kitty, you’ll look just 
like a queen. 

John ( who has been tying colored scarfs around his waist 
and arms, pulling on one green and one red stocking 
over his shoes to form hose, and putting on a bright 
rubber bathing cap): I’m all ready to play the Jester. 

Samuel: I’ll not dress up much for Haman. What’s the 
use of bothering 1 ? ( Puts on a long military cape from 
trunk, winds bath toivel from rack around head for 
turban, and adjusts black mask Sarah has thrown on 
table.) Don’t I look fierce enough to kill anybody? 

Ruth (who has put on a bathing suit): I’m all ready. 

Sarah ( slipping on a Japanese kimona): Behold Mordecai 
the Jew! ( Strikes an attitude.) 

Leah ( putting on feathered picture hat) : And behold Vashti, 
fairest of the women of Persia. 

Samuel ( disgusted ): Aw, get off the earth. I’m not going 
to play dressing-up; it’s a regular girl’s game. ( Begins 
to pull off cape and turban.) 

Sarah and Ruth ( stopping him) : Don’t you dare- 

Kitty: You’ll spoil the play- 

Leah ( recklessly): I’ll tell Miss Jacobsen on you—always 
breaking up everything. 

Samuel: Tattle-tale! Then I’ll play Haman—just to please 
the others. ( Glaring at Leah) But I wouldn’t do it for 
you for a hundred dollars. 





A SICK PURIM 


365 


John ( standing them up in a line) : Let’s see if you’re all 
sure what parts you’re going to play. Answer with your 
pretended names wdien I ask you. ( Going down line in 
order.) King Ahasuerus! 

Max: Here! ( But in a moment steals back to table and 
helps himself to a generous handful of cookies.) 

John: Vashti, who was his first queen. 

Leah ( with a sweeping courtesy which causes her to lose her 
rather top-heavy hat): Here, my lord. 

Samuel ( half under his breath): Smarty! 

John: Haman, prime minister to the king. 

Samuel: That’s me—but if my sister doesn’t stop showing 
off I’ll not be in the play. 

John: Mordecai, the faithful Jew. 

Sarah : Present. 

John: Messenger, Scribe, Courtier—the whole show. 

Ruth ( laughing ): That’s me. 

John ( with the air of a general): Now all go and sit down 
on the beds and I’ll give the prologue the Jester gave 
last year. ( They take their places on the beds, Max 
leaving the table reluctantly, as the Fool addresses the 
real audience.) 

Note — During the little play the character names of the 
actors are used. 

Fool— 

Upon this merry, merry Purim day, 

Come wdth me to old Persia, far away; 

There dwelt Ahasuerus in mighty state, 

And Mordecai, who won cruel Hainan’s hate; 

And Esther, fairest maiden ever seen, 

Whom the dread monarch chose to be his queen. 

All these will strive to tell the Purim story, 

A tale grown old, yet bright with Israel’s glory. 




366 


A SICK PURIM 


Fool ( running to table ): Sound the harp—blow the trumpet 
for the great King Ahasuerus comes to his banquet. (In 
a loud aside ): Come in, king, what’re you waiting for? 

King Ahasuerus ( sitting at table) : Now I will eat in state, 
and all the nobles will eat with me ( begins to eat an 
apple). 

Courtier ( boiving low ) : Is not noble Haman invited to thy 
banquet, 0 my lord, the king? 

Haman (taking his place briskly ) : You bet I am. (Glanc¬ 
ing over table and breaking out indignantly ) : You pig, 
you’ve eaten all the ice cream. 

King Ahasuerus: I knew it would melt, anyhow. And don’t 
you call me a pig again or I’ll have you beheaded. 

Fool (bowing low): Thy majesty, dost thou hear the far 
sweet voice of Vashti, thy queen, a-singing in her royal 
bower ? 

Vashti (running to the chair at left) : Wait, I’m not in my 
bower yet! Now what shall I sing? 

Haman: Nothing! 

Vashti: You keep still! I don’t know the song they sang 
in the play last year, king, but I can sing “Annie 
Laurie” and “Old Kentucky Home”. 

Haman: Don’t let her sing, 0 my lord, the king. She 
thinks she can, but she can’t. Just pretend she has fin¬ 
ished her song and save time. 

King Ahasuerus (pretending to listen) : What voice of heav¬ 
enly sweetness fills the air? (Steals an apple and nib¬ 
bles it whenever he gets a chance.) 

Fool (aside) : He don’t even know the sound of his own 
wife’s voice. 

Haman (rising and boiving) : It is the voice of Vashti, the 
peerless, the beautiful one—the pearl among Persian 
women. (As Vashti rises and preens herself) You don’t 
need to get conceited. I wouldn’t call you beautiful 
if it "wasn’t in the play. 



A SICK PURIM 


367 


King Ahasuerus ( to Courtier ) : Go, 0 my messenger, to the 
queen’s bower and bid her appear unveiled before me, 
that I may show her beauty to the princes of my realm. 

Courtier ( bowing ): I will bring her hither, 0 my king. 

Vashti: No, you won’t. ( Striking an attitude as Courtier 

kneels before her.) Go back and tell the king that in 
Persia it’s not proper for women to go to parties. Tell 
him I won’t come to his old party for a hundred dollars. 

King Ahasuerus ( turning and shouting to her) : Then you 
can’t be queen any more. Take away her robe and royal 
diadem. 

Vashti ( taking off picture hat and giving it to Courtier ) : 
Take thou my crown unto my lord, the king. I will 
away to shed my tears unseen by eyes of man. (She 
pulls kimona up about her face and throws herself upon 
one of the beds where she sobs loudly.) 

Haman (angrily): Keep still or Miss Jacobsen’ll hear you! 

Fool: And that’s the end of Vashti. Now, 0 king, choose a 
new queen or the play can’t go on. 

King Ahasuerus (his mouth full of apple) : Anybody you 
pick out will suit me. 

Vashti (sitting up on the bed) : Go ahead and act right— 
you’re spoiling the play! 

King Ahasuerus (with a vast gesture as he seats himself on 
the “throne”) : Messenger, go east and north and south 
and west, and bring before me all the fairest maidens of 
the kingdom. One will I choose for my wife and queen, 
and she shall sit beside me on my golden throne and 
wear the triple diadem of Persia. (Pausing for breath.) 
I don’t know what it all means, but I remember every 
word of it. 

Vashti (who has been cording her kimona higher, curling her 
hair and primping generally): Now it’s time for you to 
leave your home, Esther. 





368 


A SICK PURIM 


Haman: Stop giving orders. You’re nobody—you’re ban¬ 
ished. 

Yashti: I’m coming back to do my dance before the king 
whether you like it or not. 

Haman {savagely): I like it—not! 

Mordecai ( drawing Esther forward) : Now I’ve forgotten 
the part. Well, I’ll make it up {embracing her). Esther, 
you must go to the king’s house. He may choose you 
for his queen. 

Jester: Again—he may not. Accidents often happen in the 
best of families. 

Esther {indignantly) : Accidents never happen in stories— 
especially Bible stories. They always come out right. 

Mordecai {kissing her): Remember, dearest niece, no mat¬ 
ter where thou dost go, my heart will ever follow thee. 

Haman: More mush! 

Esther {sobbing): Goodbye, dearest uncle. 

Mordecai: Remember just one thing, my child: never tell 
anybody that you are Jewish. 

Courtier: I don’t think that’s a bit nice. 

Yashti: It’s all right—it’s in the story. 

Mordecai: I will pray for you and watch over you from 
afar. Farewell, my child. 

Esther {hiding her face): Farewell—farewell! {In a loud 
aside): Tell me when I can stop crying. 

Fool: The sooner the better. Now skip the part where 
you’re made queen—the play’s too long, anyhow. 

Courtier {placing Vashti’s picture hat on Esther’s head) : 
Now thou art Queen of Persia. 

King Ahasuerus {pats her shoulder and strolls back to table): 
And my queen. Now go and sit down somewhere until 
your turn comes. {Steals another cookie and eats it.) 



A SICK PURIM 


369 


Mordecai: Now it’s time for my quarrel with Haman. 

Vashti: He always thinks it’s time to quarrel. 

Haman: You’re always starting something, you mean. 

(Rises and approaches Mordecai.) I am Haman, the 
king’s friend and a mighty man in court. All must bow 
down to me. ( Turning to Jester) Bow, Fool, bow! 

Fool: Anything to oblige a gentleman ( turns a somersault). 

Haman (to Mordecai, who pretends not to see him): Bow 
down to me, 0 Jew—bow down to me! 

Mordecai: I won’t. 

Haman ( threatening Mordecai)’. Bow down, I say! 

Mordecai: I am of the tribe of Benjamin—I am as much a 
prince as thee. I will bow down to my God, but never 
to a mere mortal man. Never—never—never! 

Haman: You shall hear from me again. Haman always gets 
even with his enemies. 

Fool: Even if his enemies get him in the end. 

Haman ( kneeling before king, who is busily eating) : 0 my 

lord the king, there is a certain people in this land who 
are not of Persia. They obey only the laws of their 
God, and will not obey the laws of the king. What 
should be done to them? 

King Ahasuerus ( his mouth full): Anything you like. But 
don’t bother me—I’m busy. 

Haman: I will kill all the Jews if you give me your ring. 

Fool: Wouldn’t a gun be better? 

King Ahasuerus: Here, Haman, is my signet ring, the sign 
of my authority. Do with the Jews what pleaseth thee 
the most. (In his natural tone) : And now go away and 
let me alone. 

Courtier: Now I’m a scribe, and I read the Chronicles to 
you (sitting cross-legged before king). What shall I 
read to you, 0 king of Persia? 





370 


A SICK PURIM 


King Ahasuerus: Anything at all, as long as it’s funny— 
the Sunday funny page or- 

Courtier ( taking book from table) : I will read thee from 
the Chronicles of Persia. 

King Ahasuerus ( stealing a banana ): What’s the use? 

Courtier ( impatiently) : Because it’s in the play. ( Pre¬ 
tending to read) : Once when two wicked men sought to 
slay the king, a Jew named Mordecai overheard their 
plot and told it to the king’s officers. 

King Ahasuerus: All right. Now pretend you’ve rewarded 
Mordecai. Give him my best horse or my best auto¬ 
mobile, or anything he wants, and let the play go on; 
what comes next? 

Vashti ( running forward completely transformed into a 
dancer ): Now you summon your royal dancers, and I 
come and dance before you. 

King Ahasuerus: We’ll leave that out. 

Haman: You’ve got sense, Mr. King. 

Vashti: I’d like to see you. My dance is in the play, and 
I won’t let the play go on until I dance. So what are 
you going to do about it? 

Fool: You can’t do anything with a woman like that. ( Bow¬ 
ing low before her) : 0 Star of Dancers, dance a little 

and make glad the heart of thy worshipers. 

Vashti: Thanks. ( Turning to Mordecai.) Put a record on 
the victrola ( names record). I’m a little out of prac¬ 
tice. 

Haman ( as she dances) : We can see that all right. 

Fool: You look just like a cigarette ad. 

Vashti ( continuing to dance)- If I didn’t try to be ladylike 
I’d tell you what you looked like. 

Esther: Please don’t quarrel so much. I want to do the 
rest of the play. 




A SICK PURIM 


371 


Haman: Then make my sister stop dancing. 

Vashti ( ending with a very elaborate bow) : I’ll stop now, 
just because the dance ends ( glaring at Haman) —or 
I’d dance all night, just to spite you, 0 mine enemy. 

Mordecai ( turning off the record, puts on soft and slow rec¬ 
ord and comes forward, drawing her by the hand): Now 
comes my scene with Esther. Sweet Esther, it is thou, 
and thou alone, canst save our people. 

Esther: What must I do? 

Mordecai: Go to the king, thy husband. Tell him thou art 
a Jewess, and plead with him that thy people be not 
given over to death. 

Esther: It is a law in the court of Persia that no one dare 
come before the king unsummoned. If I should do this 
thing and the king would hot hold out his scepter to me 
in token of mercy, I would be put to death. 

Mordecai: Then thou wouldst die with thy people. Art 
thou not willing to risk all for thy kindred? 

Esther: Yes, uncle. I will go to the king and plead for my 
people, and if I perish, I perish. 

Mordecai ( embracing her) : My brave, noble child. Now go 
to the king. 

King Ahasuerus: Now she’s coming to bother me again. I 
W'ish they’d leave me alone for five minutes. 

Fool: That’s what you get for being a king. 

King Ahasuerus: Next time I won’t take the part. I’ll be 
a dancer or something that won’t take any brains. 

Yashti ( flaring up) : You’re trying to tease me again. 

Esther: Do be quiet till I finish my part. (She walks slowly 
and fearfully to the king.) Now hold out your scepter. 

King Ahasuerus: I haven’t any. ( Taking her hand.) What 
is thy petition, 0 my queen? 





372 


A SICK PURIM 


Esther: 0 my king, listen to the prayer of thy handmaid. 

King Ahasuerus: Go ahead. 

Esther: Wilt thou not come to a banquet I have prepared 
for thee? 

King Ahasuerus: Sure, if you didn’t do the cooking your¬ 
self. 

Esther: And bring the noble Hainan also to my banquet. 

Haman ( sitting across from king ): I’m here already. 

King Ahasuerus ( reaching for last apple) : So’m I. 

Esther ( stopping him ): Wait till we’re through. Now say 
the rest of your part. 

King Ahasuerus: What is thy wish, my queen, and what is 
thy petition? It shall be granted thee, even to half my 
kingdom. 

Fool: You always were good at giving away what you didn’t 
have! 

Esther: 0 great king, I crave my life. 

King Ahasuerus: Thy life? 

Esther: Ay, for I am a Jewess, and if my people perish I 
will perish with them. 

King Ahasuerus: Who would bring evil upon thy kindred? 

Esther ( pointing to Haman ): Even this wicked Haman. 

Haman (in his own whining tone ): Always picking on me. 

King Ahasuerus ( rising threateningly) : Thou—thou—I for¬ 
get what came next—you bad boy, you! Seize him and 
hang him on the gallows he has prepared for Mordecai. 
(The Courtier, King, Mordecai, Vashti and Jester drag 
him to one of the beds and bury him beneath the pil¬ 
lows.) 

Yashti: Serves him right, the old cross-patch! 



A SICK PURIM 


373 


Haman (thrusting his head out of the pile of bedclothes): 
Yon just wait till I get you alone, smarty! 

King Ahasuerus ( coining back to his place ): And what else 
do you want, Queen Esther? 

Esther: Allow my dear uncle, Mordecai, to take the place of 
wicked Haman. 

Haman: Still picking on me! 

King Ahasuerus (calling)'. Mordecai! ( Mordecai comes and 
kneels before him.) Here is my ring. Now go and 
send out messengers to all the people of Persia. Say 
that the Jews shall defend themselves. And anybody 
who hurts them will be put in jail. And let everybody 
rejoice in your rejoicing, and sing Purim songs and 
dance and give presents and have parties. Now excuse 
me, ’cause I want to finish my own party. ( Sits down 
at table, finishes fruit and reaches for cookies.) 

Esther ( looking over table) : You’ve eaten up everything— 
you mean thing! 

Vashti: You’re perfectly horrid. 

Haman ( joining them): They hanged me and they let such 
pigs live! 

Jester: Let’s hang him! 

(They fall upon Max; he resists. A chair is overthrown, 

etc. They all raise their voices in their excitement. In 

the midst of the struggle Miss Jacobsen enters and looks at 

them in horror.) 

Miss Jacobsen: Children! Whatever are you doing? 

Children: We’re killing the king. 

Miss J.: You’ll kill yourselves if you’re not careful. (Starts 
hustling them into their beds, where they sit, still in 
their costumes.) You may all get dreadful sick from 

running about like this and- (seeing remains of feast 

on table) eating things you’re not allowed to have. 






374 


A SICK PURIM 


Samuel (crossly) : We didn’t eat anything to hurt us. Max 
gobbled up everything first. 

Miss J. ( groaning ): You terrible child. (Takes out ther¬ 
mometer.) I suppose you have a dreadful fever already. 

Max ( cheerfully ): I don’t care—that party was worth it. 

All ( laughing ): It certainly was. 

Leah: But I bet we’ll all have a mighty sick Purim to¬ 
morrow. 







THE STAR OF JUDAH 


A PURIM PLAY 

In Five Acts 
























NOTES TO THE PRODUCER 


Suggestions for the simple properties used in this play 
will be found in the opening chapter under the heading, 
“Properties”. 

The costumes should be as rich as possible, suggesting 
oriental splendor, except in the case of Mordecai, who wears 
a simple dark robe and turban, later replaced by sackcloth. 
Light burlap or an ordinary potato sack is excellent for the 
purpose. In the first tableau, and during the earlier scenes 
of the first act, Esther wears a simple white robe, sleeveless, 
girded with a white cord and reaching to her ankles. When 
about to leave with the messenger she slips about her shoul¬ 
ders a scarf of blue or rose. In the third act she wears 
the same white robe with an over tunic of some bright silk 
of an oriental pattern. This is easily removed to be re¬ 
placed by a more elaborate outer robe, closely resembling an 
opera cloak, which she assumes when wearing her crown 
jewels. It should be the same color as the king’s robe, or 
should harmonize well with it. This costume is worn in the 
fourth and fifth acts, and should be worn in the tableau 
preceding the second act. Ahasuerus, in the second act, 
wears a long, loose tunic with short sleeves, made of some 
rich material and trimmed with gold. A gold cord about the 
waist and long chain about his neck; a narrow diadem worn 
about the head. In fourth and fifth acts he wears an outer 
robe of the same material as the tunic, or a long cape, fast¬ 
ened from the shoulders. Also an elaborate crown and more 
jewels. 

The “harp music” off stage in the second act can be 
produced by stringing a violin. The dance should be as 
oriental in tone as possible; it can be danced by any number 

377 


378 


THE STAR OF JUDAH 


of children, depending upon the talent available and the size 
of the stage. If for any reason a dance is out of the ques¬ 
tion, the interlude in the fourth act may be given over to 
a child in appropriate costume who sings before the king. 

There should be no attempt at realism during the ban¬ 
quet. Gold flagons and cups should stand upon the table, 
also several gilded baskets of fruit and cake. 

For the sake of dramatic expediency, the author has de¬ 
viated from the Biblical story in several minor points. 



CHARACTERS 


Ahasuerus 
Ham an .. 
Mordecai 
Esther .. 
Miriam .. 


. King of Persia 

. His Favorite 

. A Jew 

. His Niece 

. Her Handmaid 

Courtiers, Attendants, Dancers 


Act I —The House of Mordecai. 

Act II —A Hall in the Palace. 

Act III— Esther’s Apartments. 

Act IV —The Throne Room. 

Act V— Esther’s Apartments. 










The Star of Judah 


PROLOGUE 

An Old-Fashioned Purim 

To be spoken before the curtain by a boy dressed in 
the wide collar, short jacket and long pants of several gen¬ 
erations ago. 

Now I like Chanukah a lot, 

And Succoth in the fall; 

And Pesach; but I think that I 
Love Purim most of all. 

Maybe it’s ’cause I like to watch 
My mother when she bakes; 

And help her pound the shiny stuff 
She puts in Purim cakes. 

The kitchen air smells awful sweet; 

I just won’t go away, 

Till she gives me a Hamontasch, 

And drives me out to play. 

We go to hear Megillah read, 

Me, mother and the boys, 

With Dad, who doesn’t scold a bit, 

But seems to like our noise. 

I stamp and stamp with all my might, 

When Haman’s name is read; 

And turn my Greger with a shout ( illustrates) 

Because his sons are dead. 

381 



382 


THE STAR OF JUDAH 


At home we put on mother’s clothes— 

Her oldest clothes, I mean; 

And cousin Rachel dresses up 
And tries to act a queen. 

For then we give our Purim play, 

And laugh and dance and cheer; ( confidentially ) 
Say, don’t you wish that Purim came 
’Bout twenty times a year? 



TABLEAUX 


If the time does not permit, or the extra costumes and 
drilling will be too much of a tax upon the producer, the 
following tableaux may easily be omitted. On the other 
hand, if a more elaborate program is desired, they will add 
much to the beauty and effectiveness of the play. In some 
cases it is well to give only the first tableau—Esther as a 
young girl in the home of Mordecai—as this requires prac¬ 
tically no rehearsing. Music, appropriate to the pictures 
shown, should be played during the tableaux. 

Tableau I (before Act I). Esther in the Home of Mor¬ 
decai. ( Esther, her hair falling about her, her lap filled 
with flowers, sits upon the ground singing the song of 
Act III in the play. Mordecai stands looking fondly 
down upon her. She weaves a crown of flowers which 
she laughingly puts upon her head, crying playfully: 
‘'See, Uncle, I am a Queen 1 ’!) 

Tableau II (before Act II). Esther, Queen of Persia. 
( Esther, in royal robes, kneels before Ahasuerus, who is 
about to place a crown upon her head. The courtiers 
and attendants are grouped in the background.) 

Tableau III (before Act III). Casting of Lots. [Raman, 
his attendants about him, are grouped about a tall urn 
from which Raman draws a lot, his face evil with tri¬ 
umph.) 

Tableau IV (before Act IV). Esther Seeks the King. 
(Esther, in royal robes and crown, stands as though 
looking into the throne room.—Miriam clings to her 
hand.) 


383 


384 


THE STAR OF JUDAH 


Tableau V (before Act V ). The Jews of Shushan Fast 
and Pray. ( Mordecai, dressed in sackcloth, stands in 

the midst of a group of Jews clad in sackcloth, crouch¬ 
ing upon the ground, their faces hidden in their hands. 
One woman holds a small child, who looks happily about, 
not understanding the terror. Mordecai, with head 
thrown back, face uplifted in prayer.) 

Tableau YI (after the play ): A Day of Great Rejoicing. 
(The Jews are shown rejoicing, with Mordecai, wearing 
Haman’s cloak, and Esther, in her royal robes, standing 
in their midst.) 



ACT I 


SCENE—The house of Mordecai; Mordecai sits on a 
low chair, his head resting on his hands; Esther is at his 
feet; Miriam, in the background, is weaving a rug. 


Esther 

Dear Mordecai, why dost thou look so sad? 

Mordecai 

Ah, Esther, little one, canst thou forget 

This is the day on which thy mother died— 
Thy mother, my sweet sister? At her death 
She gave thee to my keeping—bade me guard 
And cherish thee. 

Esther 

And thou hast even been 

A tender parent to me. 

Miriam 

(Rising.) Some one comes. 

(Mordecai and Esther rise. Enter messenger .) 

Messenger 

I seek for Mordecai. 

Mordecai 

Sir, I am he. 

Messenger 

Thus doth command Ahasuerus, the king: 

He seeks a bride, and bids the fairest maids 
Throughout the kingdom shall be brought to 
him. 


And she, the one whom he shall love the best, 
Will he make wife and queen of all the land. 
Thus runs the message. Let this maid pre¬ 
pare 

And come with me. 


Mordecai 

(Drawing Esther to him.) I would not see 
her go. 


385 



386 


THE STAR OF JUDAH 


Messenger 

Esther 

Mordecai 

Miriam 

Esther 

Miriam 

Mordecai 


It is the king’s command! I wait for her 

Without the gate. Let there be no delay. 

(Exit Messenger.) 

(Clinging to Mordecai.) Oh, do not send me 
from thee. Let me stay! 

I bow my head before the king’s command. 

Thou, Miriam, bring to me the casket old 

Which holds the jewels that Esther’s mother 
wore 

Upon her bridal. She shall have them now. 

(Taking jeivels from casket.) How beautiful! 
(Puts necklace about Esther’s throat.) 

Thou shinest like a queen. 

(Half weeping.) I do—I do not wish to be a 
queen. 

Let me stay here, my uncle, still thy child, 

Quiet and useful in the household ways, 

My flowers for jewels, my doves for courtiers 
fine. 

(Putting circlet about Esther’s head.) Thou 
art a queen with crown upon thy brows! 

Thou mayest be chosen, Esther, for his queen. 

Then thou shalt shine a star throughout our 
land. 

And all will bow to thee, my Maiden Star! 

(Takes mantle from Miriam, which he throws 
about Esther’s shoulders.) 

Thou shalt have Miriam with thee for thy 
friend. 

I shall be lonely in that far-off place. 


Esther 



THE STAR OF JUDAH 


387 


Mordecai 


Esther 

Mordecai 


Esther 


My prayers will keep thee, daughter, from all 
harm. 

(Places his hands on her shoulders and speaks 

earnestly.) 

This, Esther, do I charge thee; heed my words : 
Let none know of thy kindred or thy home; 
Let none know of thy race or of thy God; 
Pray to Him oft in secret, but no word 
Of thine must breathe thou art a Jewess born. 

But why? 

(Sternly.) I would not have thee question 
but obev. 

Who knows?—the time may come when all 
must learn 

Thou art a Jewess and my sister’s child. 

Until that time be silent! ( Places hands on 

her head in blessing.) 

Holy One, 

Who guardest Israel, guard this tender maid 
Beneath the shelter of Tliy brooding wings; 
Oh, let her not forget her father’s God! 

(Raising her head and speaking with sudden 

resolution .) 

I’ll live a Jewess and a Jewess die! 

(The door opens, showing the messenger wait¬ 
ing outside.) 



ACT II 


SCENE—A hall in the palace. In the middle of the 
room a low coach piled with cushions. To the left a couch; 
at head, a pedestal with a high antique lamp. In the rear 
two lamps on pedestals. 

A group of courtiers enter, talking among themselves. 
Enter Mordecai, plainly dressed. 

Mordecai (To First Courtier.) Good sir, wilt thou not 

tell me of the queen? 

First Courtier— 

What should a Jew like thee desire to know 
Of Esther, lately wedded to our king? 

What can she be to thee? 

Mordecai Ah, what indeed? 

For she is queen, and I a hated Jew. 

(The courtiers pass to the end of the room. 
Mordecai seats himself near the door.) 

Mordecai Here will I sit; perhaps she will pass by; 

Then will I hide my face; she must not know 
How I have longed to see her. She, the child 
Who played within my garden, now the queen! 

(He sits lost in thought.) 

First Courtier (Continuing conversation )— 

Aye, truly, Haman now is lifted high; 

The king smiles on him and has raised his seat 
Above the other princes; when he comes 
Among us, all must bow and do him grace. 

Second Courtier— 

That is the king’s command! 

388 


THE STAR OF JUDAH 


389 


Third Courtier— 

Look, Haman comes! 

(Enter Haman haughtily, followed by several 
servants. The courtiers bow low before him. 
Mordecai does not move.) 

Haman Who is that man who will not bow to me? 

Second Courtier— 

I think they call him Mordecai, the Jew. 

Haman ( Furiously .) A Jew! And he sits sullen 

when I pass! 

A Jew! And he doth mock me ’fore men’s 
eyes! 

I scorn to lay my hands on him alone. 

He is a Jew; then every Jew must die 
To wipe away this insult—none must live! 

(Exit Haman.) 

(The courtiers approach Mordecai. He rises.) 

Second Courtier— 

Thou hast offended the most mighty lord 
In all this land. 

First Courtier— 

He hates thy race and thee. 

Mordecai (Quietly.) I heard his words. 

Second Courtier— 

Thou shouldst have bowed to him. 

Third Courtier— 

Perhaps thou wilt repent thee of thy pride; 
He has the king’s ear, and his hate is long. 

(They leave, mocking Mordecai as they pass. 
When alone he speaks falteringly, but un¬ 
afraid. ) 






390 


THE STAR OF JUDAH 


Mordecai Thou knowest, Lord, ’twas not through proud 

contempt, 

Nor seeking after glory that I sat 
Unmoved before proud Haman. If a deed 
Of mine had power to earn a gracious thought 
For Israel from this man, I had bowed down 
In humbleness to kiss his garment’s hem. 

But him I pay no honor, for I place 
Man’s glory far below the glory of God, 

And bow alone to Thee, who art my Lord. 

(He leaves slowly, with bowed head. Enter 
Ahasuerus, with attendants and courtiers. 
He throws himself upon a couch and speaks 
wearily .) 

Ahasuerus The night is long and I am sick for sleep. 

Bid music sound, that it may bring me rest. 

(Exit First Attendant.) 

There passed me in the corridors a Jew 
Whose thoughtful, saddened face I seemed to 
know; 

Who was it I saw shadowed in his eyes? 

(There comes a sound of harps playing a slow, 
soft melody. Ahasuerus stirs restlessly.) 

I weary of their music; bid them cease. 

(Exit a courtier.) 

Ahasuerus (To Second Attendant, as music dies away.) 

Now read me of the Chronicles; perchance 
My sleeplessness will pass. 

Second Attendant (Opens scroll .)— 

Wouldst have me read 

Of thy great father’s victories or thine own? 
These weary me. I would have rest from wars. 


Ahasuerus 



THE STAR OF JUDAH 


391 


Second Attendant— 

Perchance ’twould please my gracious lord, the 
king, 

To hear of the campaign in Pharaoh’s land. 
Ahasuerus Thy gracious lord, the king, is hard to please. 

Search out some record that I have not heard, 
And be thou swift, or ’twill go hard with thee. 

Second Attendant ( Taking another scroll .)— 

This tells of a foul plot against thy life. 

Ahasuerus Read on. Who knows but this will interest me? 

Second Attendant— 

Once thy two chamberlains who kept the door 
Turned traitors both and sought thy very life. 

Ahasuerus Aye, I remember ( with sudden interest). 

Does it name the man 

Who told me of their treachery? Who was he? 

Second Attendant— 

The records give his name as Mordecai. 

Ahasuerus What ^dignity and honor hath been shown 
To Mordecai for service to his king? 

Second Attendant ( Consulting scroll .)— 

No honor hath been given him, or reward. 

Ahasuerus (Half rising.) Both gold and honors will I 

heap on him. 

I know not what reward will prove most good. 

First Attendant (Entering .)— 

0 king, thy servant, Haman, waits outside. 

Ahasuerus Go. Bid him enter. 

(Exit Attendant.) 

Haman will advise 
A fitting way to show my gratitude. 

(Enter Haman , who hows before the king.) 



392 


THE STAR OF JUDAH 


Haman 

Oh, good my lord, thy face I sought in haste. 
I come to crave a boon. Deny me not. 

Ahasuerus 

What favor craves good Haman of his king? 

Haman 

There is a certain people in thy land, 
Dispersed and scattered, who know not thy 
laws. 

What profit to the king that they should live? 
But if it please thee that they be destroyed, 
And thou dost write it, I will pay to thee 

Ten thousand silver talents in thy hand. 


First Courtier (To Second.) 


Ahasuerus 

His is a dear revenge upon the Jews. 

I do not wish thy silver. If thou wilt, 

This alien people I will give to thee; 

Then treat them as it seems to thee most good. 

(Gives him his signet ring.) 

Here is my royal signet; work thy will. 


(Hainan bends to kiss the king’s robe.) 

Second Courtier— 

The Jews are sold unto their enemy! 


Ahasuerus 

(J.s Haman rises.) One question, Haman, 
would I ask of thee: 

What should I do unto the happy man 

The king delights to honor? 

(He turns to speak to attendant.) 

Haman 

(To Second Courtier.) What other man 
Would he delight to honor but myself? 

(J.s king turns back to him.) 

For that most happy man, 0 gracious king, 
Whom you delight to honor, let be brought 
Thy royal robes, thy horse all tricked in gold, 
And let the man whom thou art pleased to 
bless 



THE STAR OF JUDAH 


393 


Ahasuerus 


Hainan 

Ahasuerus 


Haman 

Ahasuerus 


Haman 


Be clothed in thine own robes and ride thy 
horse 

About the city; let it be proclaimed: 

This be the man much honored by the king! 

(He waits expectantly.) 

(Amused.) Well hast thou spoken, Haman! 
It shall be 

As thou hast said; seek thou one Mordecai, 
Whom I delight to honor; let him ride 
My horse along the streets and wear my robes. 

(Amused looks from courtiers.) 

But I—my king—I did not understand! 

Thou hast my meaning now! It is my wish 
That Mordecai be honored before men. 

Now leave me, and tomorrow do my will. 

(He signs for the courtiers to leave. They 
pass out with covert glances of amusement 
toward Haman. He is about to follow, but 
at the door turns and approaches the king 
timidly .) 

0 king, this Mordecai is but a Jew! 

How canst thou pay him honor? 

Thou hast heard 

The words I spoke; my word must be fulfilled. 
And Mordecai, thou sayest, is a Jew? 

(Haman nods.) 

Tomorrow honor him; ere many days 
His people perish; he will suffer, too, 

Unless thou dost relent. 

(Fiercely.) My lord, the king, 

I honor him tomorrow—’tis thy will; 

But I have cast the lots—his with the rest; 

Let him be honored who so quickly dies. 

(Exit Haman.) 



394 


THE STAR OF JUDAH 


Ahasuerus 


Ahasuerus 


{To two remaining attendants.) — 

Now would I sleep; take tliou the lamps away. 

(The attendants remove all the lights except 
lamp near the couch. Exit attendants, leav¬ 
ing scroll on couch.) 

So Mordecai, my savior, is a Jew, 

And they, his wretched people, all must die. 
What have I spoken? What great madness 
wrought? {Sitting up.) 

I shall give orders that their lives be spared, 
For am I not the king? 

{Looks at his hand.) My ring is gone; 

I gave it unto Haman; by his will 

They live or die—and who will stay his hand? 

{He throws himself back upon couch and 
glances over scroll as curtain falls.) 



ACT III 


SCENE — Esther’s apartments in the palace. A low 
bench in center on which Esther sits . 

Esther (Sings softly as she weaves a garland.) 

Flowers in the meadow, 

Sun in the sky, 

Birds in the branches; 

Happy am I! 

Love’s hand providing me 
Honev and wine, 

Love’s hand enrobing me 
In purples fine. 

Birds in the branches, 

Sun in the sky, 

Flowers in the meadow; 

Happy am I! 

(Enter Miriam hastily.) 

Miriam 0 lady, just outside the palace gate 

Sits Mordecai, thine uncle, bowed in grief 
And dressed in sackcloth. 

Esther Go at once to him, 

And have my servants robe him like a prince, 
And lead him to me. 

(Exit Miriam.) 

Esther For these many days 

I have not seen him. Why should he be sad? 

(Enter Miriam, followed by Mordecai, dressed 
in sackcloth; Esther goes to him joyfully.) 
Dear uncle, tell me why thou grievest so? 

Why art thou come to me so poorly clad? 

395 


Esther 


396 


THE STAR OF JUDAH 


Miriam 

Esther 


Mordecai 


Esther 

Mordecai 

Esther 

Mordecai 


Esther 

Mordecai 


(As Mordecai turns away )— 

He hath refused the robes thy servants 
brought. 

Speak, uncle, is it any fault of mine? 

Thou art not angry with me? Do not dream 
That in this palace I forget my home. 

I have not sent for thee nor spoke thy name 
Because thou didst forbid me show my race 
Or kindred, else I long ago had sought 
To have thee with me. 

Miriam, leave us now. 

{Exit Miriam. He turns to Esther.) 

Thou hast obeyed most faithfully my com¬ 
mand. 

Suppose I lay on thee a harder task: 

Wilt thou submit to me as in old days? 

Yes, uncle. Tell me now why thou art sad. 

Here, Esther, in the palace comes no sound 

Of tears or lamentations; but without 

The gates the Jews in sackcloth sit and mourn. 

The Jews in trouble? 

We have learned the king 

Hath given us to Haman for his prey. 

Would my poor life suffice to feed his hate, 
Right gladly would I give it; but he craves 
The life of every Jew for his revenge. 

{A pause.) 

Canst thou not guess, my child, what new 
command 

I would lay on thee? 

What, then, must I do? 

Go seek the king, thy husband; bid him spare 
The Jews for thy sake, who art one of them. 



THE STAR OF JUDAH 


397 


Esther 


Mordecai 


Esther 

Mordecai 


Esther 


Mordecai 


These many days lie hath not sent for me. 

It is the law that he who seeks the king, 

Not being summoned, shall be put to death, 
Unless the king in mercy holds to him 
His scepter. (Clings to him.) Do not bid me 
seek the king. 

Thou art a Jewess, and thy soul should turn 
Unto thy brethren in their bitter need. 

If they must die, the tender and the strong, 
Brave men and little children, wouldst thou 
live? 

Be thou a Jew—and with us live or die. 

How canst thou bid me fling my life away? 

What is thy life worth if thy people die? 

Art thou not one of us, and dost thou dream 
Thou shalt escape? But if deliverance fails 
To come from thee, perchance the living God 
Will rescue us without thy grudging aid! 

(He turns away in anger.) 

(Following him.) Do not be angry, uncle; I 
will do 

What thou dost bid me. 

(He turns.) 

But I am afraid, 

Ah, sore afraid! I am so young to die. 

Too frail and timid for a people’s voice. 

How dare I go unsummoned to the king? 

(Soothing her.) Thy father’s God will shield 
thee in this hour. 

True, thou art young and fragile; yet our Lord 
Through one as weak as thou can work His 
will. 

Who knows but thou wast chosen but for this: 
To flame a Star of Hope to those who die, 



398 


THE STAR OF JUDAH 


Esther 


Mordecai 


Miriam 


Esther 


Miriam 

Esther 

Miriam 

Esther 


To gleam a Star of Blessing through the dark, 
To shine a Star of Rescue and of Peace? 

(She hides her face, weeping bitterly.) 
Thou must he strong, child, for thy people’s 
sake. 

(Through her tears.) . 0 God, who looks upon 
the strong and weak, 

Make Thou me strong who am of faltering 
heart. 

Breathe in me courage. Should I perish, Lord, 
Let me die nobly for the love of Thee. 

I knew thou wouklst not fail us! (Calls): 
Miriam, come! 

(Enter Miriam.) 

Now deck thy mistress in her fairest robes, 
Bring jewels to shine upon her breast and 
brow, 

And make her fair, that she will please the 
king. 

(After leaving room, returns with robe, crown, 
etc., and decks Esther.) 

But mistress, surely thou must not appear 
Before the king unsummoned. 

I must go. 

Perhaps my death awaits me. Then must thou 
Return unto my uncle; keep his house; 

And thou wilt tend my flowers and my doves, 
And often speak of me who died so young. 

0 lady, do not, do not seek the king! 

Nay, I must go. 

Then I will go with thee, 

For I care not to live if thou must die. 

Girl, I will not permit thee- 




THE STAR OF JUDAH 


399 


Mordecai 


Esther 

Mordecai 

Esther 

Mordecai 


Esther 


Mordecai 


Let her go! 

(Arranging her scarf.) 

Nay, do not tremble, Esther; have no fear. 
Plead with the king that he may spare the 
Jews. 

I dare not go. 

Be brave; we trust in thee. 

(Leads her to door.) 

I know not what to say—I am afraid- 

The Lord will teach thee when the moment 
comes; 

He keeps the feet of those who trust in Him. 

(With hands uplifted.) If I must perish, I 
will perish! God, 

Oh, make me worthy of the honor shown 
To Thy poor handmaid! Take away my fear. 

(Exit Esther, leaning on Miriam. Mordecai 
stands at door, looking after them.) 

(Picks up one of the flowers she has dropped, 
looks at it sadly; speaks in a broken voice) : 

And if she dies I sent her to her death! 









ACT IV 


SCENE—The throne room. Ahasuerus upon his throne 
in center, a guard with drawn sword on either side. Courtiers 
grouped about him. Ahasuerus in conversation ivith Haman. 

Third Courtier (To Second )— 


Haman 

Ay, now is Haman lifted in his heart. 

He plans within three days that every Jew 
Throughout the realm shall perish. He hath 
raised 

A towering gallows fifty cubits high 

Whereon he will hang Mordecai, his foe. 

0 king, if ’tis thy pleasure, I have brought 
Together dancers who will strive to win 

Thy praise. They are assembled in the court. 

Ahasuerus 

(To First Attendant .) Summon the dancers. 

(To Haman.) 

Thou dost never lack 

In deeds of thoughtfulness to please thy king. 

(Enter dancers. They bow before the king 
and begin a slow and elaborate dance, dur¬ 
ing which Esther is seen to enter, clinging 
to Miriam. The king and court, watching 
the dance, do not observe her.) 

Esther 

0 Miriam, my feet are slack as Death! 

How can I look on colors and bright light, 
And hear soft music, when I fear this hour 
Will take all joys and colors from my life? 

Miriam 

Be steadfast, mistress! Was’t not said of old: 
The Lord my fortress is—He is my rock, 

My shield and my deliverer, my high tower; 
I will call on the Lord, who shall be praised, 
And He will save me from mine enemies? 

400 


THE STAR OF JUDAH 


401 


Esther Ah, little Miriam, if thou, a child, 

Hast such high courage, why should I, the 
queen, 

Shrink in the hour when God calls on me? 

(The dance ends. A courtier sees Esther and ' 
a whisper of “The Queen” passes from 
mouth to mouth. All move aside to let her 
pass, and motioning Miriam to remain be¬ 
hind, she advances slowly to the king.) 

Second Attendant— 


Ahasuerus 


Esther 


Ahasuerus 


Haman 


He hath not summoned her—will it be death? 

(Esther stands before Ahasuerus. He holds 
out his scepter. Esther touches it.) 

What wilt thou, Esther? What is thy request? 
It shall be given thee, though thou shouldst 
ask 

The half of this, my kingdom. * 

This is my prayer: 

If it seem good unto my lord, the king, 

Let the great king and Haman come this day 
Unto the banquet that I have prepared. 

Thy wish is granted thee. Come, take thy 
place. 

(He takes her hand and places her beside him 
on the throne.) 

(Bowing low to Esther.) This dazzling honor 
blinds me like the sun! 

(To Second Courtier )— 

Besides the king she asks no other guest 
Save me; I have waxed mighty in the land. 

(Ahasuerus by a gesture commands the dancers 
to resume their performance. During the 
dance the curtain falls.) 



ACT Y 


SCENE — Esther’s apartments. Same as Act III, ex¬ 
cept that in center of stage are placed a table covered with 
crimson cloth, set for banquet, and three couches or low 


stools. 


Esther 

{To Miriam, who is arranging the table for 
three )— 

The hour hath come when my great lord, the 
king, 

And Iiaman, our destroyer, come to me. 

The king was gracious to me when I stood 
Before him. Will his heart incline to me 

* 

When I plead for my people 1 ? Will he hear 

Mv voice and save mv nation for mv sake? 

*/ 

Miriam 

(Wonderingly.) Thou art afraid no longer? 

Esther 

Now I feel 

That God has chosen me from all my race, 
Tho weak and fearful, to do battle for Him, 
And break my people’s chains and give them 
peace. 

Miriam 

{At door.) It is Ahasuerus and Hainan, come 
Unto thy banquet. 

{Enter king and Iiaman and two attendants.) 

Esther 

Welcome, gracious king, 

And lordly Haman, mighty among men. 

{They seat themselves and Miriam serves them. 
The attendants remain behind the king’s 
chair .) 


402 


THE STAR OF JUDAH 


403 


Ahasuerus 

Esther 

Ahasuerus 

Esther 

Ahasuerus 

Esther 

Ahasuerus 

Esther 

Ahasuerus 

Haman 


Surely, Queen Esther, when thou eam’st to me 
Without a summons, risking thus thy life, 
Thou hadst some other goodly boon to crave 
Than coming to this banquet. 

That request 

I dared not utter then; now I will speak. 

Speak, Esther, thy request is granted thee; 
Even to half my kingdom, it is thine. 

(Rising.) If I find favor in thy sight, 0 king, 
And if it please thee, let my life be given, 
And spare my people, too, at my request, 

For we are doomed to perish utterly. 

Who is the wretch who thinketh in his heart 
To do this thing? 

Our adversary and our enemy; 

Even this wicked Haman, who would kill 
The Jews. But if he slay them, let me die 
A Jewess with the doomed of my dear race! 

A Jewess! Thou! 

A Jewess, 0 my king! 

(Rising and speaking fiercely to Haman )— 

0 thou, who soughtest to destroy a race, 
Wouldst thou slay the true man who saved my 
life, 

Good Mordecai? And wouldst thou then bring 
low 

The blood of Esther, that she perish, too? 

’Tis thou shalt suffer for that wicked hope! 

(Falling before Esther )— 

Oh, save me, Esther; turn his wrath away! 

Let him not slay me! 




404 


THE STAR OF JUDAH 


Ahasuerus Dost thou then presume 

To plead with her, my queen, before my face? 

(To Attendants): 

Take him away and slay him; take my ring 
From off his finger. 

{Attendants seize Hainan.) 

First Attendant— 

Good, my lord, the king, 

The gallows stand without that Haman built 
For death of Mordecai. 

Let him be hanged 
Upon the gallows builded for his foe. 

(Attendants drag out Hainan.) 

0 king, my people wilt thou save from death? 

Throughout the kingdom Haman sent com¬ 
mands 

Which doom the Jews, and I cannot revoke 
My slightest word. 

(From door.) 0 mistress, Mordecai 
Is here and craves to see thee. 

Bring him in. 

(Enter Mordecai, still in sackcloth.) 

Thou art the man who saved me from mv foes? 

«/ 

My God permitted me to work thee good. 

Why dost thou visit Esther? 

She, great king, 

Is my own sister’s child. I sought her here 
To learn of thy decision. Wilt thou spare 
The Jews? 

(Enter First Attendant.) 

Second Attendant— 

My lord, this is the signet ring 
We took from Haman’s finger. 


Ahasuerus 

Esther 

Ahasuerus 

Miriam 

Ahasuerus 

Mordecai 

Ahasuerus 

Mordecai 



THE STAR OF JUDAH 


405 


Ahasuerus 


Esther 


Mordecai 


(Giving the ring to Mordecai) — 

It is thine; 

Henceforth thou shalt be mighty in the realm. 
For thou art kin to Esther, my fair queen, 
And just thou art, and worthy before men. 
Give orders that the Jews protect themselves 
Against their enemies—be it thy care 
That they shall be victorious, not destroyed. 

(Prostrates herself before him )— 

0 husband, no poor, foolish word of mine 
Can thank thee for this mercy! 

(As Ahasuerus raises Esther )— 

Thank instead 

Our God, who would not let His people die. 



0 


THE PAGEANT OF ESTHER 


A PURIM PAGEANT 


In Eleven Scenes 














NOTES TO THE PRODUCER 


This pageant, may be substituted for the long historical 
play, “Star of Judah”. It may be given very simply, with 
several of the scenes omitted, and much of the business sim¬ 
plified. It has been given successfully with seventy-five 
children. On the other hand, a most inspiring spectacle was 
presented at the first performance, when over three hun¬ 
dred children, from the primary department up to the post¬ 
confirmation classes, were used. It will be found an ad¬ 
mirable vehicle for the use of several large Sabbath Schools 
planning a joint celebration. In this case the principals 
may be drawn from the different schools, the groups divided, 
viz.: First school taking merchants, second school, Jews, 
etc. The pageant, if presented as a simple pantomime, may 
be given upon a small platform without scenery. If given 
on an elaborate scale, a large stage should be used, and 
various lighting effects employed. For a simple setting, all 
that is needed is the conventional “throne”, a table and a few 
chairs to suggest the outer court of the palace; to the left, a 
couch and several chairs in the background for the Women’s 
Pavilion; a screen for the door of Mordecai’s house near 
the right wing. If real scenery can be obtained, the stage 
should be set at the beginning of the action and the picture 
remain throughout the pageant. In this case, the exterior of 
Mordecai’s house is shown; tables and chairs are brought in 
for the banquet as indicated in the action; the pavilion is 
arranged on a raised dais reached by a flight of steps. In¬ 
stead of dropping a curtain between the scenes, it has been 
found advisable to indicate the passing of time by darkening 


\ 


409 


410 


THE PAGEANT OF ESTHER 


the scene, or clearing the stage for a moment, and playing 
the same musical cue that is used throughout the action to 
suggest a change of scene. 

Much of the success of the pageant depends upon the 
incidental music. The music, as well as the dancing, should 
be in charge of special committees, the chairmen of which 
should be responsible to the pageant director for the dances 
and music they select and arrange. The dances may be sim¬ 
plified, several being omitted altogether at the discretion of 
the dancing director. The music, which should be in char¬ 
acter, should be carefully rehearsed in entirety with the 
actors of the pantomime; the dances likewise, at least two 
rehearsals, to help the performers feel themselves fitted into 
the larger picture. Special music cues may be devised to 
indicate the entrance of the leading characters. Familiar 
music should be avoided. For example, although the dance 
of the maidens before the house of Mordecai is well expressed 
by the “Spring Song”, the melody is so well known that its 
introduction will strike a jarring note. The chairman of the 
music committee is also responsible for the music played 
during the prologue episodes; with the aid of the dancing 
instructor he should be able to rehearse the Prologue, thus 
insuring perfect cooperation between the music and the 
actors at the final rehearsal. 

If desirable, the Prologue can be dispensed with, or 
the chorus of maidens omitted and the lines of the Wizard 
shortened and simplified. This is best for a simple per¬ 
formance; but with a large stage and cast the interludes of 
the Prologue not only lend atmosphere to the scenes which 
follow, but allow the directors to reassemble their actors 
and prepare for the next scenes. If no Prologue of any kind 
is given, it is best for the director to read to the audience 
a brief synopsis of each scene; the market-place—Mordecai, 
the Jew, learns of a plot against the king, etc. A synopsis 
should also be printed upon the program. 



THE PAGEANT OF ESTHER 


411 


It will be noted that whenever a large crowd gathers 
the different groups are supplied with lines. No attempt 
should be made to get these lines “over”, but the device will 
be found helpful in creating the spirit of the scene. The 
gestures must be made big and sweeping; the action should 
be vigorous, but not too rapid, lest it become confusing. At 
the end of each episode, careful grouping will form the sug¬ 
gested “picture” or tableau. A spotlight will render these 
pictures much more effective. 

Costumes, if rented, should be chosen with great care. 
If the pageant is presented in a large theater where groups 
must be distinguished at a great distance, it has been found 
best, whenever advisable, to use some characteristic badge— 
red turbans for the merchants, blue and white shawls for 
the Jews, etc. 

Most of the properties can be manufactured by the 
actors themselves, but if costumes are hired, properties 
should be hired also for a more harmonious effect. Artificial 
flowers for the maidens of the Prologue and dances may be 
purchased from some wholesale millinery house; the torches 
may be wired with tiny electric bulbs; dark green straw 
flower-holders (for sale at Japanese stores) are better for 
the urns than heavy pottery, or cardboard cornucopias of 
the required size may be covered with green crepe paper. 
The white dove may be rented from a florist; but if the 
master of scene effects is not extremely clever in wiring it, 
that it can be “flown” across the stage at just the right 
moment, it is better not to risk the incident and drop it al¬ 
together. Still the effect is very thrilling, and worth the 
trouble. The dove should be wired and concealed in its 
cage in the bower before the curtain rises. Another dove, 
which can be “faked” out of cotton, can be carried by Esther 
in the early episode. In most communities a pony can be 
borrowed for Mordecai; in large cities it is easy to rent one 
for a nominal sum. If this is impossible, or the size of the 



412 


THE PAGEANT OF ESTHER 


stage forbids live stock, the incident of Mordecai’s ride can 
be dropped, but it is a pity, as it is the one scene the chil¬ 
dren in the audience will never forget. If the pony is 
used, the scene should be timed to move very slowly, and the 
animal (led by a very reliable pupil) should be marched 
across the stage several times. 



CHARACTERS 


Ahasuerus . King of Persia 

Vashti . The Queen 

Ham an . The King’s Favorite 

Mordecai . A Jew 


Esther . His Adopted Daughter 

Bigthan, Teresh . Royal Chamberlains 

Messenger, First Body Servant, Second Body Servant, 

Royal Scribe 

People of the Market Place and Court, Jews of Shushan, 
Vashti’s Handmaidens, Esther’s Companions, Maidens 
brought before Ahasuerus, Soldiers, Scribes, 
Dancers, Slaves, Jesters 


FOR PROLOGUE 

A Persian Wizard, Twelve Maidens 

FOR EPILOGUE 
America, Jews from Many Lands 















% 


The Pageant of Esther 


PROLOGUE 

Twelve maidens dressed in white and purple stoles and 
bearing upon their heads urns filled with purple flowers en¬ 
ter from the L. They face L. and assume postures of ex- 


pectancy. 


Maidens 

Hail to the wizard—to the wizard, hail! 

(The wizard, an old man, with his black 
garments covered with astrological sym¬ 
bols, and carrying a staff, enters L. They 
bow reverently before him.) 

Wizard 

(Raising his staff): Hail to you, maidens of 
the months that pass! 

(They circle about him, following his words 
in pantomime to music.) 

Wizard 

(Addressing audience): Out of old dreaming 
Persia have I strayed 

To tell the story of a Jewish maid— 

Fair Esther, she who like a star burned bright, 
And saved her people from destruction’s 
night. 

The star within the darkness!—thus behold 

A symbol of the pageant we unfold, 

For in Life’s "woof, dark mingles with the 
light: 

Fate sends us evil days as well as bright. 

(Indicating urns) 

415 



416 


THE PAGEANT OF ESTHER 


4 


Maidens 


Merchants 


Men 


Women 


These urns both fair and gloomy hours con¬ 
tain, 

The sun of gladness and the night of pain, 

The rosy dawn which clouds in woe again. 

(Takes a flower from the vase of the First 
Maiden and scans it earnestly.) 

A lot I draw—the story groweth clear; 

’Tis Persia in the springtime of the year. 

No more—but to the market-place and see 

The picture the first lot hath shown to me. 

{Maidens drift toward L. and make a ges¬ 
ture of invitation.) 

Come with us to the market-place, 0 come! 

{The wizard makes a gesture of invocation. 
The curtains part, showing the market¬ 
place, and he mingles with the crowd. A 
street. Noonday. The market folks and 
merchants chatter among themselves; beg¬ 
gars ask for alms; little children play in 
groups and dance a simple round dance; 
courtiers lounge in the outer court, their 
slaves fanning them.) 

{Displaying their wares as they move through 
the crowds) : Buy my cloth—the bright¬ 
est dve—buy mv cloth- 

Sweetmeats—taste my sweetmeats- 

Gold anklets—gold earrings—buy a chain— 
golden earrings- 

Let me taste thv sweetmeats- 

%/ 

Another waistcloth—nay, the deeper dye- 

A rare chain—see the heavy clasps- 

This silken scarf—no, this one—thy price is 
too high- 

I would buy sweetmeats for my children- 











THE PAGEANT OF ESTHER 


417 


Children 


Beggars 


Courtiers 


Slaves 


Jews 


We have caught Adiel—we will not let him 

go- 

Imla, come play with us—Imla- 

Alms—alms— 

Give me of thy charity—alms- 

The king will soon return—stay where the 
shade is pleasant; 

What noise the foolish townsfolk make; they 
are always chattering- 

Give me a fan that I may fan my master- 

Let me smooth the cushions of thy couch- 

Hasten with thy perfumes, for our lord is 
faint from the sun- 

(A group of Jews enter from the R. They 
gather before the house of Mordecai. One 
knocks at the door; Mordecai appears, 
dressed like the others, but wearing upon 
his breast the insignia of the house of 
Benjamin.) 

We have come from the synagogue- 

Where is Haddasah? 

Simon will read to us- 

We will rest before thy house- 

(They sit before the house and one reads to 
them. Bigthan and Teresh come from the 
palace and come to front of stage. Bigthan 
shows Teresh his petition; Teresh nods and 
glances over it eagerly. They station them¬ 
selves at the gate of the outer court . Ha- 
man, with a small retinue, enters from R. 
People cry “Haman!” and bow before him; 
he passes haughtily into outer court, where 
courtiers rise and treat him with deference. 
Jews before the house of Mordecai mingle 













418 


THE PAGEANT OF ESTHER 


in the crowd. Ahasuerus and Vashti enter 
with retinue. Cries of “The king—may the 
king live forever!” At the gate, Bigthan 
and Teresh prostrate themselves before 
Ahasuerus. Bigthan offers his petition, 
which Ahasuerus spurns and passes on; 
Vashti and her voomen enter the women’s 
pavilion, then pass off stage, L. Ahasuerus 
enters court, speaks familiarly with Ha- 
man; they pass into the palace, followed by 
courtiers and slaves. Bigthan has thrown 
himself on the ground by the gate; he 
shows great grief and anger; Teresh tries 
to soothe him. Townspeople leave slowly; 
night begins to fall. Mordecai is seen in 
background with group of Jews. Finally 
he leaves with them, L. Teresh raises Big¬ 
than and points with a gesture of menace 
to the palace. He leads Bigthan toward the 
house of Mordecai. As they talk, Mordecai 
enters from L. and crosses to his house. 
He is attracted by their excited gestures 
and creeps behind them. Teresh makes a 
gesture of drinking—points to the palace — 
takes vial from girdle—gesture of pouring 
contents into wine—Bigthan nods eagerly — 
Mordecai’s face shotvs horror.) 

Picture—Mordecai and the Conspirators. 



* 


SCENE I—The twelve maidens, dressed as before, en¬ 
ter from the R. to slow music. They stand listlessly and 
show weariness, but raise their heads expectantly when the 
wizard enters from L. 

Maidens Night cometh and we hunger for thy speech. 

{They circle about him with their urns. He 
draws from the urn of the second maiden.) 

Tell us, 0 wizard, what thy art reveals. 


Wizard 


Maidens 


Wizard 


{Bending above flower and speaking with sup¬ 
pressed excitement )— 

The chamberlains approach, their king to slay; 

He’s saved by Mordecai, who hastes away 

Unnoticed. Vashti, Persia’s beauteous queen, 

The pearl of women, in her bower is seen, 

The king’s commandment dares to disobey; 

Her royal robes and crown are snatched away, 

And swift foot messengers make haste to 
bring 

A bride to suit the fancy of the king. 

{Eagerly, as they hurry L.) : Haste to the 
palace where the feast is spread! 

{Raising his staff) : Come, night of nights, of 
gladness and of woe! 

{Slaves appear with torches in the outer court. 
He stands watching them a moment, and 
then crosses slowly to the R. and disap¬ 
pears.) 


419 




420 


THE PAGEANT OF ESTHER 


Night—The Palace 

(The music grows as the slaves bring forth 
tables, low stools, etc., and deck the tables 
for the banquet. Lights appear in women’s 
pavilion. Vashti is shown with her maidens 
and court ladies. Slaves pass among them 
carrying ivine, fruit, etc. Ahasuerus, Ha- 
man and their retinues, followed by cour¬ 
tiers, enter the court from the palace. They 
sit at the tables; slaves offer them wine, etc.; 
garland guests with fioivers. Townspeople 
gather outside the gate to see the banquet. 
Mordecai is seen to come from his house, 
mingle with the townspeople, and finally 
enter the outer court. He endeavors to 
reach the king. Bigthan and Teresh ap¬ 
proach the king. Bigthan diverts the at¬ 
tention of his body-servants while Teresh 
poisons his wine. Ahasuerus is about to 
drink when Mordecai throws himself before 
him, begs him not to drink, points to the 
two conspirators, who are seized by the sol¬ 
diers and led away, L. In the meantime 
Mordecai has slipped away unrewarded in 
the crowd. Ahasuerus sends for his royal 
scribe and has the event recorded in the 
Chronicles. Vashti is shown making merry 
with her women. They sing. Vashti sings, 
and Ahasuerus, hearing her voice, sends his 
royal messenger to bring her to the ban¬ 
quet.) 


Courtiers 


We will see the queen—the pearl of women 
Vashti is the most beautiful of all queens- 
The king has sent for Vashti- 







THE PAGEANT OF ESTHER 


421 


Slaves 


Women 


People 


Will not my lord taste of this wine? 

Bring fresh roses for our garlands- 

(In the bower )— 

Surely thou wilt not appear at the banquet- 

It is not meet for the queen to be seen there— 

The messenger will say thou wilt not come- 

(In the street )— 

The king hath sent a messenger for Vasliti- 

Will the great queen appear at the banquet? 

(The messenger kneels before Vashti, who 
makes an indignant gesture of refusal. He 
returns fearfully to the king. Ahasuerus 
rises in his anger. The courtiers seek to 
calm him. Vashti and her women wait in 
tense fear.- Ahasuerus bids the messenger 
return to Vashti and take from her the 
crown and royal cloak. He calls for his 
scribes; they sit before him waiting for the 
message. Messenger returns with crown and 
royal raiment; Vashti is shown weeping 
among her handmaidens; her women creep 
off in terror. Ahasuerus points to crown 
and robe, bids the scribes take his mes¬ 
sage, calls for his messengers. They bow 
before him; he bids the scribes deliver their 
message to the messengers, points to crown 
and robe, and orders to seek a new queen. 
The townspeople return to their homes, R. 
The courtiers follow Ahasuerus and retire 
into palace; slaves remove tables, etc. Morn¬ 
ing breaks. Vashti and her weeping hand¬ 
maidens leave the palace.) 


Picture—Vashti is Driven into Exile. 







SCENE II—The maidens dressed in white and rose, 
with rose garlands hanging from their urns, dance lightly in 
L. to a happy melody. 


Maidens 

The morning breaks and all the world is fair. 

(Wizard enters R. They shower him with 
roses , laughing in their joy. He silences 
them with an abrupt gesture, and they 
crowd about him curiously.) 

Wizard 

Cease with your roses—I would speak of one, 
Whom men the Myrtle call—the rising sun 
Beholds her young companions fresh and gay, 
Who dance to usher in the fragrant day. 

(Takes rose from urn of third maiden; speaks 
doubtfully )— 

A day which breaks in joy to close in woe: 
Hadassah from her girlhood’s home must go. 

Maidens 

(Breaking into joyous laughter as he shakes 
his head mournfully )— 

Nay, we will laugh—we’re young—and it is 
spring! 

(They dance off R.; the music grows stronger.) 

Wizard 

(Wistfully): The sun is rising and the maid¬ 
ens dance. (He goes off L., very old and 
tired .) 

• 

(Before the house of Mordecai. As the sun 
rises, young girls in white and carrying pink 
flowers dance forth, R. and L. They ex¬ 
press in pantomimic dance their joy in the 
beauty of the spring morning. They sit 
and weave garlands before the house of 

422 


THE PAGEANT OF ESTHER 


423 


Mordecai, while one girl dances before 
them. The girls resume their dance and 
toss their flowers to each other. During 
the dance Mordecai comes from his house 
and sits on the doorstep reading a scroll. 
Esther comes from the house, steals up be¬ 
hind him, blindfolds his eyes. She sits at 
his feet, teases him, will not let him read, 
etc. Girls observe Esther, pause a moment 
in their dance, drag her from Mordecai, 
playfully bind her with their chains, dance 
about her, finally release her and crown her 
their queen with flowers. While they frolic 
about her, Jews come in ( R .) and tell Mor¬ 
decai of the search for a queen. He sum¬ 
mons Esther, bids her enter the house; she 
obeys reluctantly. Messenger enters ( R.) 
and demands to see Esther; Mordecai leads 
her from the house.—She clings to him and 
weeps when the messenger makes known his 
purpose. Mordecai blesses her. The mes¬ 
senger bids her choose her companions to go 
with her to the king; they hasten to her and 
beg to be allowed to go; she chooses seven 
and bids the others farewell.) 

Picture—Esther Parting from Mordecai. 




SCENE III — Maidens, tlieir arms entwined, frolic in 
from the R. They wear blue stoles over their white draperies 
and corn flowers fall from their urns. 


Maidens 


Wizard 


Maidens 


Wizard 


’Tis noonday—let us frolic in the shade. 

(They playfully bind the fourth maiden with 
their garlands of flowers.) 

{Entering and speaking angrily) — 

Ah, thoughtless ones, so ye would laugh and 
sport, 

While youthful Esther hastens to the court. 

{Approaches fourth maiden and picks flower 
from urn at her feet.) 

Who knows what sorrows or what joys await 

The maiden just beyond the royal gate? 

{Scans flower) 

She meets the king; unknowing, goes her way— 

Yet much depends on this eventful day. 

(As they release fourth maiden and break into 
laughter ): Hark to the music—all the 

world’s at play! {Then run off R. Wiz¬ 
ard stands looking after them. Again he 
scans the flower.) 

They meet—they look—and all the world is 
changed. 

{He goes slowly after the maidens, R. In 
the outer court. Noonday. The music grows 
louder. Youths of the royal household 
bound from the palace to play at ball in 
the court. Ahasuerus and his two body- 

424 


THE PAGEANT OF ESTHER 


425 


servants come from the palace. Ahasuerus 
watches the boys a moment. Gives to one 
attendant his jewels and crown, to the other 
his heavy outer robe, and, dressed in his 
simple tunic, joins the boys in their game. 
Several courtiers enter from the palace, 
dressed for hunting. Ahasuerus dismisses 
his body-servants; they go into the palace 
and return immediately carrying a short 
dark cloak and a boiv and arrow. He dis¬ 
misses the boys ivho troop into the palace. 
Ahasuerus sets out for the hunt with his 
courtiers. Halfway across the stage the 
courtiers point R., crying, “A dove—a dove 
— shoot!” Ahasuerus fits an arrow in his 
bow and shoots. Esther, ivith her compan¬ 
ions, led by the messenger, enters R., hold¬ 
ing the wounded dove to her breast. The 
king approaches her. The messenger is 
about to kneel and pay him homage, but 
Ahasuerus signs for him to be silent. He 
asks for the dove. Esther shows that it is 
wounded, and begs to keep it. He asks in 
return a spray of the myrtle garland about 
her head. Esther, her maidens and the mes¬ 
senger pass into the outer court. Ahasuerus 
orders his courtiers to leave him. They go 
off R.) 

Picture—Ahasuerus stands gazing after 
Esther, who lingers at the Palace door, 

HER FACE TURNED TOWARD HIM. 



SCENE IV—Maidens in pure white with scarlet roses 
about their heads and in their urns enter from the L. and 
raise their arms to the sunset. 

Maidens ’Tis sunset and the sky is like a rose. 

{Wizard enters, and they offer him flowers, 
swaying to the music as they pass before 
him.) 

Wizard (Tales rose from urn of fifth maiden and 

peers at it thoughtfully )— 

And Esthers future bloometh as a rose. 

For this fair flower’s petals now disclose 

A Jewish virgin at the king’s right hand— 

Tonight he makes her queen of all this land. 

(The maidens drift R. and beckon him to fol¬ 
low them. He shakes his head and passes 
off L., very slowly, the flower still in his 
hand.) 

(The women’s pavilion and the outer court of 
the palace. Sunset. Slaves and tire-women 
enter women’s pavilion from L. In the 
pavilion are gathered the maidens who are 
to appear before the king. The music 
grows stronger and the girls sing softly 
as they bring the jewels, etc. Esther stands 
apart. Her seven maidens bring her robes, 
a circlet of jewels, etc. They hold a mirror 
before her and deck her and crown her. 
She hesitates, lays aside the rich robe and 
resumes her crown of myrtle. Sound of ac¬ 
clamation. Cries of u The king!” “May the 
king live forever!” etc. Ahasuerus, Haman 
and retinues come from palace. Ahasuerus 

42G 


THE PAGEANT OF ESTHER 


427 


Courtiers 


Townsfolk 


on throne; courtiers grouped about him. 
Buzz of talk.) 

The king will choose a queen to succeed 
Vashti- 

Who will be the new queen? 

The fairest maiden in the kingdom will be his 
queen - 

( Townspeople, among them Mordecai, who 
leaves his house slowly and sadly, crowd 
about the gate of the outer court.) 

Crowd not—for I would see the maidens when 
they come- 

They will come dressed in rich robes- 

They will wear the jewels of a queen- 

’Tis my place—I would stand here when they 
pass—give over- 

(The king sends messengers and slaves to wo¬ 
men’s pavilion. Maidens are brought be¬ 
fore him. They come before his throne one 
by one and he signs for them to pass on. 
Esther, who has timidly followed, comes last. 
He bids her wait. Comes down from the 
throne. She stares at him in doubt and 
presses her hands to her forehead as though 
bewildered. Mordecai comes forward, show¬ 
ing suspense. Ahasuerus takes sprig of 
myrtle from his girdle and shows her that 
it has been taken from her garland. She 
recognizes him—bows before him. He raises 
'her and leads her to the steps of the throne.) 

Picture—The Crowning of Esther, the 
Court bowing before her, while Morde¬ 
cai STANDS BEFORE HIS OWN HOUSE WEEPING 
IN THE MOONLIGHT. 










SCENE V—Music is played slowly and softly, and the 
maidens enter before curtain dressed in white and gray, 
their urns filled tvith ivy. They move languidly. 


Maidens 

Gray evening and the world is very still. 

(Wizard enters slowly, L. They circle about 
him, offering their urns. He takes a leaf 
from the urn of the sixth maiden.) 

Wizard 

And as the evening shadows cross the sky, 

So danger hovers over Mordecai. 

He will not bow to Hainan who, in hate, 

Vows that each hapless Jew will share his 
fate: 

He pleads for their destruction with the king, 
Who gives to Haman e’en his chain and ring; 
The Jews are doomed with noble Mordecai, 
And Haman draws a day on which they die. 

Maidens 

Gray as the evening is the tale we hear. 

(They go off L. slowly, their urns upon their 
heads.) 

Wizard 

Strange is the lot the urn of fate doth hold. 
(Exits R.) 

(Before the palace. Nightfall. Esther, in 
royal robes, passes with her maidens from 
the palace through the pavilion and off the 
scene, L. Mordecai is waiting at the gate. 
As they pass he stretches his hands toward 
Esther, then covers his face rvith his robe 
lest she recognize him. Left alone, he takes 
a small scroll from his girdle and sits read¬ 
ing in the light of one of the lamps. Ha¬ 
man and his retinue, as well as a number 
of courtiers, cross from R. Comic interlude 

428 


THE PAGEANT OF ESTHER 


429 


furnished by pranks of several of Hainan’s 
slaves who play tricks upon a pompous 
courtier. Human approaches outer court. 
Mordecai glances up from scroll; continues 
reading. Townsfolk pass at intervals and 
all bow before Haman. Haman observes 
Mordecai and orders him to do the same. 
Mordecai shakes his head, points upward, 
showing that he will show homage to God 
alone, and starts to cross to his house, R. 
Haman shows violent anger and threatens 
him. Group of Jews pass from L. and 
cross stage, congregating before the house 
of Mordecai. Courtiers point to them and 
Haman, with a threatening gesture, plans 
revenge. Ahasuerus enters from palace and 
sits on throne. Temple servants burn in¬ 
cense. Haman approaches with his retinue, 
kneels, points to tripods and burning in¬ 
cense, then to group of Jews before the 
house of Mordecai who will not bow before 
the Persian gods. Points to Persian sol¬ 
diers, then to Jews, whom he desires to 
have destroyed. Takes off jewels—offers 
them to Ahasuerus for a bribe; Ahasuerus 
refuses jewels, shows Haman to soldiers as 
their leader—gives Haman his own signet 
ring and the gold chain about his neck as 
symbol of his new authority. Points to 
Jews, who are departing across stage L. 
and shrugs shoulders. Retires into palace 
with his court. Haman and his friends 
group themselves at outer gates. They se¬ 
lect two urns and begin to draw lots.) 

Picture—The Drawing of Lots. 







SCENE VI—The music is played softly. The maidens 
enter from L., lavender flowers in their urns, lavender stoles 
over their white draperies. They move slowly and droop 
their heads. 


Maidens 


Maidens 

Wizard 


Maidens 


The night is long—we seek in vain for sleep. 

(They sink to the ground and assume listless 
attitudes. The wizard enters from R. The 
seventh maiden kneels before him and 
spreads the contents of her urn at his feet.) 

(Without stirring): Yea, speed the hours 
with thy wizard’s art. 

(Ricking up a flower and looking at it long 
before he speaks) — 

The king is weary, too, and seeks for sleep; 
Before his heavy eyes the hours creep; 

Dancer and clown strive hard their lord to 
please, 

But neither mirth nor music bring him ease; 
They read the Chronicles—he hears again 
The story of the wine cup—learns with pain 
How Mordecai doth unrewarded go; 

He sends for Hainan—’tis a bitter blow 
When Hainan learns that Mordecai will ride 
Upon the king’s horse, Haman at his side, 

To cry until the city streets will ring: 

“This is the man much honored bv the king.” 
While, left alone, the king laments the fate 
That offers Mordecai to Haman’s hate. 

(Raising their urns as seventh maiden picks 
up her flowers) : May sleep rest on thine 
eyes as soft as dew. ( They go out softly, 
R., their faces bent low over their urns.) 

430 


THE PAGEANT OF ESTHER 


431 


Wizard 


( Musing, with face uplifted) : The stars are 
very solemn as they move. ( Goes out L., 
lost in thought.) 

(Before the palace—late at night. Palace 
servants enter with torches. King dressed 
in long, loose robe, enters. Lies upon couch 
in center of court. Shows restlessness while 
slaves fan him. Several slaves dance be¬ 
fore him—he is still unsatisfied—a slave girl 
sings—he rewards her ivith a jewel and 
sends her away—his favorite jesters try to 
amuse him—Ahasuerus drives them from his 
sight—sends a messenger to bring Haman 
from the palace. While waiting, he bids 
his royal scribe to read from the Chronicles. 
Slaves carrying several large scrolls enter — 
first and second scribes read to the king, 
telling their stories with vivid gestures — 
king, uninterested, dismisses them—royal 
scribe reads story of the treachery of cham¬ 
berlains—he shows interest—scribe rises, 
points to house of Mordecai—king points to 
his jewels, then to house of Mordecai — 
scribe shakes his head, for Mordecai has not 
been rewarded. Haman enters from palace, 
following messenger. Scribe, in obedience 
to king’s gesture, places scroll on couch and 
retires. Haman bows before king, who asks 
him how best to honor the man he loves 
with all his heart. Haman turns to messen¬ 
ger and points to himself with much satis¬ 
faction, while Ahasuerus glances over Chron¬ 
icle. Haman turns back to Ahasuerus and 
indicates that such a man should be led 
through the streets crowned with the king’s 
crown and wearing royal robes. To his in- 




432 


THE PAGEANT OF ESTHER 


tense chagrin Ahasuerus points to Chron¬ 
icle—recalls the story of the poisoned wine 
cup—points to house of Mordecai who is to 
be honored. Hainan pleads with king to 
revoke his command—courtiers exchange 
glances of amusement and laugh among 
themselves—king shakes his head—Mordecai 
must be honored—Haman still pleads—king 
dismisses him—Haman and court pass slowly 
into palace, Haman last—shows great an¬ 
ger and dismay. Servants take away all 
the lamps except one near the king’s couch — 
retire into palace. Left alone, king goes 
to gate and stands looking toward the house 
of Mordecai, in which a light still twinkles. 
His face grows sad as he thinks of his de¬ 
cree.) 

Picture—Ahasuerus lies on the couch 

READING THE CHRONICLE AND MOURNING 
OVER THE DOOM OF MORDECAI. 



SCENE 
as in Scene , 

Maidens 

Wizard 


Maidens 

Wizard 


Jews 


VII—[May be omitted .] The maidens, dressed 
, come in joyously. 

{Elated) : Sound cymbals—Mordecai rides 
like a king. {They cry aloud in triumph; 
Wizard enters from E. and holds up his 
staff for silence.) 

Do not rejoice—who knows what evil hours 
May fall before the fading of your flowers? 

{Takes flower from urn of eighth maiden.) 
’Tis true that Mordecai rides like a king, 

But list what sorrows the same day will bring; 
For now’ the king’s ow T n herald doth proclaim 
The Jew r s are given o’er to death and shame; 
In sackcloth they approach good Mordecai— 
Bid him to plead w T ith Esther lest they die. 

{Wilfully, as festive music grows louder )— 
Mourn if thou wilt—we’ll laugh our youth 
aw^ay. {They run off E. laughing.) 

{Looking after them gloomily) : Death’s heavy 
wings are blotting out the sun. {Exit L.). 

{The street — noonday. The conversation and 
action of the townspeople in Scene I are 
duplicated. A group of Jews before the 
house of Mordecai showing great elation.) 

He will be exalted in the sight of the peo¬ 
ple — 

Mordecai wil 1 ride like a king- 

No one will be higher than Mordecai- 

The king hath shovui great honor unto Mor¬ 
decai — 


433 







434 


THE PAGEANT OF ESTHER 


Townspeople 


(After Jews have joined them )— 

Such a thing was never heard before- 

Mordecai the Jew is honored-- 

We will wait in the streets and see Mordecai 
as he passes- 

Great are the favors the king hath heaped on 
Mordecai-- 

(Some point to the L. Cries of “Behold — 
Mordecai — Mordecai!” Haman, black with 
rage , enters from L. He is followed by 
several royal servants and leads a white 
horse with rich trappings. Mordecai, dressed 
in the king’s robes and with the royal 
croton upon his head, rides the horse. Re¬ 
newed cries of , “Honor be to Mordecai; he 
is honored by the king.” People surge 
about them—Haman shows anger — Morde¬ 
cai remains unmoved. They pass off R. 
Royal messenger enters L., blows his- trum¬ 
pet, commands silence, shows the king’s 
scroll, points to Jews who are to be slain — 
exits R. Jews leave R., wailing and mourn¬ 
ing, followed by the jeering townspeople. 
Mordecai, now clad in his own simple gar¬ 
ments, comes from the palace—Haman fol¬ 
lows him, jeering and mocking—he is thrust 
from the gate by Haman’s servants—they 
return from street and follow Haman into 
palace—Mordecai walks slowly to his home 
—is met by Jews from R., who now wear 
sackcloth. They lament and tell of the king’s 
decree—he takes a sackcloth from one of 
them, puts it on, scatters dust upon his 
head, joins their lamentations. Esther en¬ 
ters from R. into women’s bower, folloiced 







THE PAGEANT OF ESTHER 


435 


by her maids. Jews bid Mordecai rise from 
ground where he has thrown himself weep¬ 
ing—tell him to plead with Esther—he is 
doubtful—they continue to plead with him. 
Mother shows him her child who will be 
slain with the rest. He swears to do his 
best to save them—Jews go off lamenting. 
Mordecai follows them slowly.) 

Picture—Mordecai Mourns at the Gate. 




SCENE VIII—Maidens appear B. before the curtain to 
solemn music. They wear black stoles and scarfs over their 
heads—ichite floivers in their urns. 

Maidens Our hearts are bitter with the tears we shed. 

(They lean with their faces against the cur¬ 
tain, mourning, their urns at their feet.) 

Wizard (Entering from L. and glancing at them 

sadly )— 

Yea, mourn, 0 maidens, for the day is nigh 
When every Jew within the realm must die— 

{They turn toward him with pitiful gestures) 
Ye do right well to veil your heads in woe— 

(They bow their heads, their scarfs covering 
them like great wings) 

But look—ye carry blossoms white as snow. 

{They do not heed him, but continue to 
mourn; he takes a flower from urn of 
the ninth maiden.) 

Yet she, the lily of the chosen race, 

Shall plead before the king to give them grace; 
And from her bower her white dove she’ll free* 
If he will gracious to her people be; 

“And if I perish”—says with courage high— 
“I perish”—and goes bravely forth to die. 

Maidens {Wearily, as they lift their urns ): Our eyes 

are dim—our feet are slack as death. 

{They pass out L. mournfully, with droop¬ 
ing heads.) 


* This and following line may be omitted. 

436 



THE PAGEANT OF ESTHER 


437 


Wizard 


(Rapt) : Perhaps a star may pierce the inky 
gloom. ( Exit R. with forehead pressed to 
the flower.) 

(Before the palace and in the women’s pavil¬ 
ion — sunset. Esther and her maidens in the 
bower make merry with music. Mordecai 
is seen mourning at the gate. One of Es¬ 
ther’s handmaidens comes from the palace, 
crosses court, sees Mordecai, runs to Es¬ 
ther, tells her of his strange appearance. 
Esther sends three maidens to him with 
rich robes—waits expectantly—he refuses 
robes—follows girls into Esther’s presence. 
Several Jews in sackcloth are seen wailing 
and mourning before the house of Mordecai. 
Esther asks Mordecai to explain his strange 
garb—he dismisses her handmaidens, who 
retire into the background—tells her of the 
king’s decree—shows her copy of royal 
command he takes from his girdle—leads 
her into the street and shows her Jews 
mourning at his doorstep. She shrinks 
back, afraid—he pleads with her to go to 
the king—even before the throne—she re¬ 
fuses, weeping—he grows angry—is about 
to leave her—she consents to go before the 
king. He calls back the handmaidens — or¬ 
ders them to deck Esther in her jewels and 
richest robes—she rejects all they show her 
—must have her fairest garments—picks 
up a black scarf—tells Mordecai that she 
ivill wave it as a signal if her request is 
not granted—shows him the dove which she 
has kept caged in her bower—if Jews are 
spared she will liberate the bird.* Mordecai 


* This incident may be omitted. 






438 


THE PAGEANT OF ESTHER 


blesses her and leaves her, going slowly to 
his house, while she stands looking after 
him—joins other Jews—they enter house 
together. Maidens bring forth Esther’s 
royal robes and crown and hold a mirror be¬ 
fore her. They deck her while she weeps.) 

Picture—Esther, in her royal robes, sets 

OUT TO SEEK THE KING. 



SCENE IX—Th e music is heard, wailing, and the maid¬ 
ens hurry in L. and cling together in attitudes of fear. They 
are dressed in white and purple. 

Maidens ( Casting aside their urns ) : Even our sweetest 

flowers smell of death. ( They stand hud¬ 
dled together in frightened groups of 
threes.) 

Wizard ( Entering from R. and approaching tenth 

maiden )— 

Nay, let me read the secrets of thine urn. 

(She points to it shudderingly; he takes a 
flower from urn.) 

In the dim west the sun’s red ashes burn— 

Now Esther seeks the king with faltering 
breath; 

Unless she holds his scepter, she tastes death. 

(Maidens listen tensely.) 

Ah, now the king is gracious—saved is she— 

He grants her boon, whatever it may be— 

(Vaguely and troubled.) 

She bids the king and Haman come that night 

Unto her banquet—( gropingly) —all else fades 
from sight. {He passes off L., still look¬ 
ing at the flower, his eyes strained, his 
manner expectant.) 

Maidens {Doubtfully) : The future lies enwrapt in pur¬ 

ple mist. {They pass off R. slowly, peer¬ 
ing into their urns.) 

{In the court—still sunset. Jews shown 

lamenting before the house of Mordecai. 

439 







440 


THE PAGEANT OF ESTHER 


Esther lingers before her pavilion weeping 
and praying among her maidens. Ahasuerus 
and retinue enter court—mounts throne—an 
attendant stands at either hand, sword 
drawn and watchful. Courtiers group them¬ 
selves before him. Haman appears before 
the king, bows low, and orders two of his 
negro slaves to bring forward a large chest; 
when opened it appears to be filled with 
flowers; suddenly a slave girl carrying a 
flower in her hand rises from the chest—the 
other dancers seize the blossoms and toss 
them among the guests while the girl dances. 
Esther is seen to leave her pavilion during 
the dance; her handmaidens cling to her, 
but she bids them to remain behind—two 
follow her unnoticed—as she reaches the 
entrance of the outer court she orders them 
to remain behind—they kneel and plead to 
go with her—she embraces them, and the 
three women enter the court—no one ob¬ 
serves them until the end of the dance, then 
there is a cry of “The Queen”! All draw 
back in terror—Esther signs her two hand¬ 
maidens to remain with the others—the two 
body servants lean forward tensely. Esther 
advances slowly to the foot of the throne, 
trembles violently, forces herself to look up 
at the king—after a moment’s hesitation he 
extends his scepter—she sinks on her knees 
on the steps of the throne and touches scep¬ 
ter—guards relax—handmaidens clasp each 
other’s hands and weep. Esther points to 
pavilion where the banquet is spread — in¬ 
vites king and Haman. Ahasuerus accepts 
the invitation and raises her to his side — 



THE PAGEANT OF ESTHER 


441 


Hetman, gloiving with pride at this new 
honor, goes to his chief friends and shows 
his delight—hisses Esther’s hands and thanks 
her—signs to dancers to resume their dance.) 

Picture—Outside in the growing twilight 
the Jews still fast and pray, while in 
the Palace the dancers shower Esther 

WITH FLOWERS AND WAIT TO RESUME THEIR 
DANCE. 








SCENE X—Maidens dressed in white and scarlet, with 
scarlet roses in their urns, dance in joyously, L. 


Maidens 

Wizard 


Maidens 


Wizard 


The night is sweet with perfume and with song. 

{Entering from R. and approaching angrily): 
Yea, sing and frolic ere it be too late— 

Who knoweth of the next decree of fate? 

{Snatches rose from urn of eleventh maiden, 
studies it, and then speaks with sudden 
rapture )— 

Ay, maidens, let your joyous voices ring 
In happy anthems, for the gracious king 
Is pleasant unto Esther, spares the Jews, 

But mercv unto Haman doth refuse— 

Upon the very gallows doth he die 
Which he himself hath built for Mordecai, 
While Mordecai is honored by the king, 
Receives the royal chain and signet ring; 

The dove is freed; the waiting mourners know* 
That God gave ear unto His people’s woe. 

{Joyfully) : God saved His people through 
a weak girl’s prayer. {They run out R. 
rejoicing.) 

The ways of God are very hard to read. {He 
goes out L.) 

{Women’s pavilion — nightfall. Esther waits 
with her maidens, who add last touches to 
banquet. Royal servants carrying torches 
come from palace. In the outer court they 
dance, then stand, making a lane of light 
through which king, Haman and a small 
retinue pass as they go to the pavilion. 


* If desired, these last two lines may be omitted. 

442 



THE PAGEANT OF ESTHER 


443 


Esther bids the king send his servants away; 
Hainan likeivise—she and her maidens will 
serve thefti—all are dismissed except the two 
body-servants behind the king's couch. Later 
they enter the palace. Several maidens play 
stringed instruments—banquet is begun — 
king, pleased at his reception, offers Esther 
gifts—chain from his neck—ring from his 
finger—laughingly points to his crown. 
Esther shakes her head and rises to her feet 
—she will have none of these—only the ring 
from Hainan's fmger, the royal chain from 
Haman's neck—Ahasuerus shakes his head 
in perplexity at her strange request—Haman 
tries to laugh, but fails—Esther kneels be¬ 
side the king's couch—shows him scroll Mor- 
decai has given her—points to house of 
Mordecai where Jews ivait without, mourning 
their doom—points to herself—offers to lay 
aside her royal robes and follow them—if 
they die, she, a Jewess, must die also. 
Ahasuerus rises doubtfully. She turns to 
Haman. Haman crouches in his chair as 
Esther denounces him—Ahasuerus shows 
great anger—turns upon him—Haman 
throws himself before Esther—pleads with 
her to save him from the king's wrath — 
Esther shrinks back—Ahasuerus orders his 
body-servants to seize Haman—they take 
his chain and ring from him and give them 
to the king. He commands them to lead 
Haman to his death—Hainan led off L. 
Esther, much to king's astonishment, lib¬ 
erates her dove*—Jews seen to rejoice as it 


* This incident may be omitted. 






444 


THE PAGEANT OF ESTHER 


flies over them. Jews urge Mordecai to go 
to the palace—Esther explains why she set 
the dove free—Mordecai appears before 
them—Esther tells king Mordecai saved him 
from the poisoned wine cup and is her 
uncle—Ahasuerus gives ring and chain to 
Mordecai—gives him decree for Jews } de¬ 
struction, which he destroys. Esther about 
to prostrate herself before king—Mordecai 
bids her thank the God of the Jews , who 
has saved them.) 

P |cture—The king has retired. The hand¬ 
maidens ARE IN THE BACKGROUND. ESTHER 
IN HER ROYAL ROBES SITS LIKE A CHILD AT 

MordecaPs feet, while Mordecai, Haman's 

CLOAK ABOUT HIS SHOULDERS, FONDLY 
STROKES HER HAIR AS HE DICTATES TO A 
SCRIBE BEFORE HIM A DECREE TO SAVE THE 

Jews. 



SCENE XI—The maidens dressed in scarlet and gold — 
their vases filled with yellow flowers—dance in from L. to 
bright music. 


Maidens 


Wizard 


Maidens 


Wizard 


Townsfolk 


(Dancing ): Within the streets the Jews hold 
festival! 

{Wizard enters from R. They dance about 
him impishly. He playfully threatens 
them with his staff.) 

Ah, laugh in glee, the memory of this day 

Throughout the centuries will not fade away! 

(Takes flower from twelfth urn, reads it, 
and continues exultingly): 

For after long, forgetful years have rolled, 

Still will this day made brave in red and gold, 

Be issued in with festival and mirth 

In every corner of the peopled earth; 

And every Jew will raise his voice on high 

In praise of God, who would not let him die. 

To Esther give we praises flower-sweet- 

{They dance off R., scattering their flowers 
as they go.) 

{Reverently) : Praise be to Him who helped 
her to be strong. {He goes off L.) 

(A street — noon. Great hubbub among peo¬ 
ple. Gayly dressed, they stream in from 
every side. Plenty of noise with cymbals, 
etc.) 

The Jews are rejoicing—we will rejoice with 
them- 


445 






446 


THE PAGEANT OF ESTHER 


Jews 


Townspeople 


Jews 


The Jews are spared—they have grown mighty 
in the land- 

Let us rejoice with the Jews- 

{Jews, bearing gifts, flowers, cymbals, etc., 
come from B. in a joyous procession. Crowd 
about the house of Mordecai—some enter — 
come out and, report it empty.) 

We are saved—let us be merry—w T e are saved— 

We are to live, not die—we are saved- 

The Lord was on our side—we are saved- 

{Much merry-making among people — throw¬ 
ing of confetti—giving of alms to beggars — 
exchanging of gifts, etc. Ahasuerus and 
Esther with their retinues come from palace, 
followed by Mordecai, who wears his Jew- 
ish garments but displays the gold chain 
and circlet of Uaman and carries Uaman’s 
staff. Loud acclamations.) 

Hail to the king—may he live forever- 

Hail to Esther—hail to our queen—hail to 
Esther- 

Hail to Mordecai—he will rule over us—hail 
to Mordecai- 

Thanks to the king who has spared us- 

Thanks be to Esther who pleaded for us- 

Thanks be to Mordecai—all praise to Morde¬ 
cai — 

All praise to Esther- 

{People rush to Esther with gifts; others 
bring her their children to bless, etc. She 
shakes her head, pointing upivard, bidding 
them praise God—not her.) 














THE PAGEANT OF ESTHER 


447 


(A hush falls upon the people. Jewish maid¬ 
ens carrying palms dance a solemn dance 
before them. At the conclusion the Jews 
burst into song of rejoicing, extending 
their hands in gratitude to Esther as they 
sing.) 

Picture—Esther and Mordecai receive the 

PRAISES OF THE JEWS. 



EPILOGUE 


[This episode may he omitted.] The wizard and maid¬ 
ens, dressed in simple white with crowns of laurel on their 
heads, enter slowly from L. before the curtain. The maidens 
stand facing the west—the wizard speaks, addressing the 
audience. 

Wizard The rolling years have passed, and now we 

stand 

Upon the threshold of a Motherland, 

A Mother, she, to take us to her breast— 
America—the Esther of the West— 

To her come the oppressed of every land, 
Their star, the torch of freedom in her hand— 
No longer need her weary children roam— 
America, to each Jew, grants a home. 

Maidens We praise thee, Esther—Star of those who 

weep! 

(The Wizard raises his wand. The curtains 
draw hack slowly,. disclosing the Goddess of 
Liberty, white and impassive, her torch in 
her uplifted hand. On her right are grouped 
the Jeivs of the past, on her L., a group of 
refugees from other countries, kneeling be¬ 
fore her with outstretched hands and im¬ 
ploring aid. The Maidens and the Wizard 
join in the song of praise to “America”.) 


448 


THE SILVER CUP 

A PASSOVER FOLK PLAY 

In One Act 










NOTES TO THE PRODUCER 


This little play, although slight, requires careful hand¬ 
ling, and should not be entrusted to inexperienced actors, es¬ 
pecially in the case of the old man. There must be no 
suggestion of artifice; the producer must try from the first 
rehearsal to give the illusive quality of the legend and fairy¬ 
tale. 

The text gives full directions for the setting and prop¬ 
erties, which, while realistic, must never become obtrus¬ 
ively so. 

The costume of every one but the old man should be 
modeled upon the dress of the French or German peasant 
of today. The old man should be represented by a boy 
somewhat taller than the other characters, wearing a white 
wig and beard and a rough brown cloak with a hood. There 
should be a hemp girdle around the waist and he should 
carry a staff. 


451 


CHARACTERS 


Jacob . 

Hannah .... 
Benjamin .. 

Mark . 

An Old Man. 


A Woodcutter 

. His Wife 

.. Their Child 
.. A Neighbor 


TIME—About a hundred years ago. 
PLACE—In a deep forest. 






The Silver Cup 


it is late afternoon on a spring day, the afternoon of 
Passover eve. The scene shows a little hut, clean and cheery, 
but scantily furnished; a few chairs, a rude settle under the 
low window, a table and a cupboard, all plainly made by 
the master of the house. Upon a shelf above the brick fire¬ 
place are two brass candlesticks; between them, contrasting 
strongly with the mean furnishings of the room, a huge 
silver cup. On the settle lies a child about six years old; he 
is pale and thin, but he laughs as heartily and as cheerfully 
as other boys and girls who can run about. At the door 
stands his mother, peering out anxiously into the gathering 
twilight. 

Benjamin: Don’t you see father coming yet, mother? 

Hannah: No, child. And it is so late, too! If he doesn’t 
get here soon, I’ll have no time to prepare the Seder 
before Passover begins. 

Benjamin: He should have gone to town last week before 
the river was high and the roads were so bad from the 
rains. 

Hannah: But he had no money to buy wine and matzos 
until the Master paid him for his last load of wood. 

(A short silence.) 

Benjamin: When you have the door open I can hear the 
river roaring. 

Hannah: You know it is always high in the spring when 
the snow melts and the torrents rush down from the 
mountains. If the bridge should be swept away- 

453 



454 


THE SILVER CUP 


Benjamin: Do you remember last year—before I got sick— 
how I used to go down to the river and gather the wood 
it tossed on the shore—and sail my boats? ( Confi¬ 
dently .) But I’ll be well soon, won’t I, mother, and then 
I can walk again and go down to play by the river? 

Hannah ( hastily ) : Yes, dear one. ( She closes the door.) 
It is growing too damp for you. (She goes to the cup¬ 
board and brings out a pitcher of milk and a bowl and 
spoon, which she places upon the table.) You will be 
too hungry if you wait until father comes and brings 
us something for the Seder. 

Benjamin: Mother, neighbor Mark says that the Master has 
fine wheaten bread on his table—and meat almost every 
day—even when it isn’t a Shabbos or a Yomtov! Why 
don’t we have good things to eat and drink and a big 
house like his instead of one little room, mother? 

Hannah: Because we are poor and he is very rich. 

Benjamin: But we’re rich, too! Haven’t we the biggest sil¬ 
ver Seder cup in the world? 

Hannah (giving him bowl of milk and propping him up on 
his pillow) : Yes, even our rich lord upon the hill has 
nothing so beautiful in his fine house. (She takes the 
cup down from the shelf and places it upon the table, 
then takes down the candlesticks.) I will polish it now, 
and the candle-sticks, also, and then I will set the table, 
for, perhaps, your father will come soon, and then all 
things must be ready for the Seder. 

(There is a gentle knock at the door; the mother opens 
it and stands perplexed, staring at a strange man in the 
doorway. Truly, he is unlike any of their peasant friends 
or the servants of the rich landowner she has seen pass on 
their way to town on market day. He is old, with a long, 



THE SILVER CUP 


455 


white heard, yet straight and vigorous. He wears a rough 

brown cloak with a knotted cord about the waist, and carries 

a heavy staff.) 

Stranger: Peace be upon all within this house! 

Hannah ( faltering a little ) : And peace be upon you, 0 
stranger! 

Stranger: May I come in and rest awhile? I have traveled 
many miles today and I am weary. 

Hannah ( holding the door wide open) : Come and rest. 
(She shudders a little.) Hear the river! The bridge 
will surely be swept away—and my husband- 

Stranger: He will return safely—and that which he has 
gone to fetch will be restored to him. 

Hannah (puzzled) : How did you know that he had gone 
to town to buy what is needful for the Passover? 

Stranger (with a soft smile) : Going up and down the world, 
I listen to the birds—and they tell me many secrets. 
(Goes to settle where the child sits, spoon in air, staring 
at him curiously.) Peace be upon you, little one. (No¬ 
ticing milk.) I have fasted all day. (Turns to mother.) 
Will you not give me some milk also, that I, too, may 
eat and be satisfied? 

Hannah (in shame) : I gave the last drop to the child. But 
if you will wait (throwing her shawl about her shoul¬ 
ders), I wfill run to our neighbor Mark, who lives near 
the river, and borrow a cupful from his good wife. If 
it were not for her kindness the child would often be 
hungry, for this winter has been a hard one, and we 
w T ere obliged to sell our two goats. 

Benjamin : - and mother’s fine gold earrings she wore 

upon her wedding day. 





456 


THE SILVER CUP 


Stranger: But not the beautiful silver cup I see upon your 
table. {He picks it up and turns it over curiously.) A 
king might be pleased to drink from this; it would bring 
you many gold pieces were your husband to take it to 
town upon a market day. 

Hannah: But I dare not sell it. ( Goes to door with pitcher 
in hand.) If you will stay with the child while I am 

gone- {opens door, hut shrinks back.) Hear how 

the river is crying out in the dusk—the bridge will 
surely be swept away before he returns. 

Benjamin: Don’t go, mother, if you are afraid. Why can’t 
the poor old man have some of my milk? I’m not so 
very hungry. {He holds out the howl of milk to the 
old man who sits upon the foot of the settle.) 

Stranger: I would rather share your supper, little son, than 
sit at the table of your rich landlord on the hill. Ah, 
what large grounds he has—and fair orchards. In sum¬ 
mer they must be a rare temptation to a lively boy 
like you. 

Benjamin {a little wistfully) : Last summer I used to climb 
the hill, and when the keeper was kind he would give me 
rosy apples for mother—and once he filled my hands 
with cherries. But I have been sick for such a long 
time I can’t walk—not a single step. Though next sum¬ 
mer I’ll be well enough to go up the hill again and sail 
my boats on the river, won’t I, mother? 

Hannah {her voice breaking a little) : I hope so, little one. 

Stranger: Have you not heard of the great physician at 
Kheims? But yesterday I saw a little child who had 
been afflicted even as your child is now; yet the physi¬ 
cian healed him. Take your boy to him- 





THE SILVER CUP 


457 


Hannah (at the table polishing candle-sticks ): We are poor 
folk- 

Stranger: He is good to the poor. 

Hannah: I have heard that he heals the rich and poor alike 
—may God reward him for it. But we have no money 
to make the journey—to live on the way. 

Stranger: You have saved nothing? 

Hannah: We have sold our last possessions that we should 
not starve during this hard winter; as the child told you, 
even the gold earrings I wore upon my wedding day. 

Stranger: But the silver cup that you are polishing- 

{Goes to table and examines cup carefully.) I am some¬ 
thing of a trader, and I know the value of ancient silver 
pieces. As I thought {pointing out the carving ), carv¬ 
ings of the flight from Egypt—the destruction of Pha¬ 
raoh’s army on the banks of the Red Sea—all the work 
of a great artist. I will buy this cup from you. 

Hannah: I cannot sell it. {Takes it from him and contin¬ 
ues polishing.) 

Stranger {takes a purse from his girdle which he empties 
upon the table) : See—all these gold pieces—even half 
of them would enable you to make the journey to 
Rheims and take your child to the great physician who 
will make him strong and well again. 

Benjamin: 0 mother—mother—sell him the cup. I want to 
be well and strong—I want to run about and play and 
sail my boats on the river. 

Hannah: I cannot sell this cup. I would do anything else for 
him— se n m y very life blood—but this cup I cannot 
sell—not for all the gold in the world! 

Stranger: But why? 





458 


THE SILVER CUP 


Hannah: It is not mine to sell. Seven years ago on a spring 
night like this, after I had come to this house as a bride, 
there was a knock at the door, and when my husband 
went to open it a voice from the darkness asked to see 
me. 

Stranger: Who was your late wedding guest? 

Hannah: I could not see his face. He would not enter. 
But out of the darkness the voice spoke to me: “0 
bride, today have you tasted the wine of the marriage 
cup—you have shared it with your husband just as you 
will share the hardships and the joys of your common 
life. And at first the hardships shall be many and the 
joys few.” (She breaks off suddenly.) And it has 
been so, even to this day, for we have known poverty 
and hardship, and now the illness of our child. 

Benjamin ( eagerly ): But, mother, tell him what else the 
voice at the door said to you. 

Hannah ( laughingly ): He has heard the story so often that 
he knows it almost better than I do. Well, he who 
spoke at the door continued: “But you must always 
hope for a deliverance from your sorrows. No matter 
how poor and needy you are during the year, still you 
will always have matzos and wine for your Passover 
feast; no matter how T scant your cheer, there will al¬ 
ways be the rich silver cup to hold the wine for Elijah 
to sip when he stops at your Seder table.” 

Stranger: And the stranger gave you this cup? 

Hannah: Yes; a hand reached for mine in the darkness and 
thrust something into my hand. And the voice said: 
“I leave this cup as a pledge of better fortune; use it 
every Passover; guard it well. For it is yours only to 
hold in trust, and in seven years I will come for it 
again.” 



THE SILVER CUP 


459 


Stranger ( nodding ): Seven years. 

Hannah: And the words of him who spoke in the darkness 
have come true. We have had hardships and poverty, 
and, bitterest of all, the sickness of onr only child. 
Many times have we been tempted to sell this cup, for 
though we are only simple folk and know little of the 
great world, we were sure that it would bring us a goodly 
sum. But it is not ours to sell, for some day the 
stranger who came to us in the night will come to claim 
his own again. 

Stranger: But you say it was seven years ago—and he has 
not come. (He fingers the gold.) Surely he could not 
blame you for thinking he has forgotten his contract. 
Now the cup is yours to sell, and with the gold you will 
take your child to Rheims and he will become strong 
and hearty again. 

Benjamin: Mother, please, please sell the cup! 

Hannah: What though the seven years have passed? I will 
wait a little longer—as long as the stranger’s promise 
holds. ( Sweeping gold into purse, and giving it hack to 
him.) As long as we have our matzos and wine for the 
Passover, then I will know that I must still keep the 
cup and that he will return to our house. 

(The door is flung open and the father staggers in; he 
flings his dripping cloak on the floor and swings into a chair 
as though exhausted.) 

/ 

Hannah ( running to him): What has happened? Was the 
bridge swept away? 

(The old man, his purse still in his hand, stands in the 
background watching them, a gentle smile playing about his 
mouth.) 



460 


THE SILVER CUP 


Jacob ( speaking hoarsely ): No; it is still tottering and 
swaying like a leaf in the wind. But the river is grow¬ 
ing higher and higher. I clung to the rails and crawled 
across—but when I was half over- 

Hannah: Yes—what happened? 

Jacob:-a great wave swept over me and flung me to 

the shore. And when I was able to stand and look about 
me, I found that my basket- 

Hannah: The basket with the provisions for our Passover? 

Jacob: -the basket with the matzos and the wine, for 

which I had spent my last penny had been swept into 
the river. After my long journey—our last penny spent 
—and now we cannot have our Passover! 

Hannah (in sudden anger) : Ah, this is too much—all we 
have suffered in this year—and the child’s illness—to 
have his promise f.ail us now—not even matzos and wine 
for the Passover. 

Stranger ( coming forward) : You said that when you were 
free from his promise—now you will sell me his cup? 

Jacob ( starting up) : Who is he? 

Hannah: A passing traveler. 

Stranger: And I am something of a trader, too—a dealer in 
silver cups—and good deeds—and other old-fashioned 
wares. I wish to buy your Elijah cup; I will give you 
this purse of gold for it. 

Hannah: Tell him he cannot have it. 

Jacob ( wavering ) : We have kept it so long—the stranger 
will never come back for it. And we have never been so 
poor before. 

Hannah ( almost tearfully) : But we must not sell it. 







THE SILVER CUP 


461 


Stranger ( slowly) : But you said that if the cheer for your 
Passover failed- 

Benjamin: Mother—mother—sell him the cup—I want to be 
well again. 

Hannah ( lifts cup and stretches out her hand for the purse): 
What if it is not mine to sell—shall we starve when we 
have this treasure within our house—shall my little one 
lie helpless during the long summer days when our gold 
will take us to the great physician? (Suddenly.) But, 
Benjamin, you mustn’t grow up and think your mother 
was unfaithful—that she could not keep her trust! (To 
the old man): No, I cannot, I cannot! I promised to 
keep the cup until the owner returned, and I cannot 
break my promise. And you should not try to tempt 
me. You would bring evil into this house. (She flings 
open the door ; it has grown very dark outside.) Go— 
go—do not tempt us any more. (The stranger smiles, 
his strange, slow smile, hut does not move. Then at the 
open door appears Mark, a young peasant, carrying a 
covered basket.) 

Mark (entering) : The bridge has gone down—you were just 
in time, neighbor Jacob. But can you tell me what this 
means—this trick of the river? (Shows basket.) The 
river just swept it to our door. My wife and I saw it 
was the basket you always carry to town on market days. 

Jacob (seizing it) : The basket I lost when I crossed the 
bridge. (Tears off cover.) Yes, it is all there— 

strangely dry—all I bought for our Seder—we will have 
our feast tonight—as we have always had it. (Takes 
out bottle of wine.) Not broken in that dreadful torrent. 
(He is about to put it on the table, but in his excite¬ 
ment drops the bottle and breaks it.) We will have no 
wine for our Seder after all! 




462 


THE SILVER CUP 


Hannah: Yet the stranger’s promise did not fail us. And 
if I had sold the Elijah cup- 

Benjamin ( ruefully ): But there is nothing to put into it. 

Stranger: No wine could ever taste so sweet to Elijah when 
he passes about the world tonight, little one, as the milk 
you shared with me tonight. (He leans over the child 
and holds him to his breast for a moment, passing his 
hands over his body before he lays him back upon the 
pillows.) Your hands were eager to bestow your poor 
supper on me; your feet will be quick to run along the 
river when the summer comes again. 

Hannah ( frightened ): What do you mean? You are not a 
trader—a common traveler- 

Stranger: Ay, I am a traveler, for I have traveled many 
miles—and must travel many more before the journey of 
my people is over. And a trader, too, for I exchange 
blessings for good deeds and loving words. (Again his 
sloiv smile.) And also a redeemer of pledges—especially 
at Passover. (He takes his staff from the corner.) Now 
it grows late and I must set out on my journey. 

Jacob: Stay with us. Our Seder will be a humble one—but 
if you will be our guest- 

Stranger: I must not linger. (He takes a piece of matzos 
from the basket.) But before I go, let me say a blessing 
over the unleavened bread and the wine. 

Hannah: But we have no wine. 

Stranger (holding out silver cup to her) : Fill this with 
water. 

(The mother looking much perplexed, obeys him and fills 
the cup with water from the pitcher on the sill. Standing 
at the head of the table, the old man recites the blessing over 
the matzos and the voine before he puts the cup down upon 
the table and takes his staff again.) 










THE SILVER CUP 


463 


Stranger ( raising his hands in blessing) : May the peace of 
the Passover fill your hearts for the year that is to be, 
and may its joy never depart from this house. 

Mark ( at door): You cannot set out tonight; the bridge is 
down—the river is rising every moment. 

Stranger ( quietly ) : I shall not be harmed. 

Jacob: You must not go- 

Stranger: The power that brought your provisions for the 
Passover back to your table will surely keep me in the 
storm. 

Hannah ( coming to him as he stands in the doorway where 
the darkness hides him from view) : If you will only 
stay until tomorrow. 

Stranger ( his voice sounding strangely through the dark¬ 
ness) : Tomorrow will be too late for my journey. Good¬ 
bye, my daughter, and keep my cup for another seven 
years! 

Hannah {in a frightened whisper): “Keep my cup for 
seven years”. It was thus the stranger spoke to me seven 
years ago when he stood before the door in the darkness 
—and he spoke in the same voice. He tells me to keep 

his cup—Elijah's cup-( She goes to table and picks 

it up mechanically.) Elijah's cup—( then cries out in 
wonder) : It is filled with wine—red wine for the Seder! 
{Jacob and Mark rush to her side.) 

Jacob: Red wine for the Passover! A miracle! {Fright¬ 
ened.) If it was Elijah- 

Benjamin {rising in the excitement): Let me see the wine! 
{Half doubtfully at first, then with perfect confidence, 
he steps upon the floor and runs to the table.) Mother, 
let me see the wine in the cup. 






464 


THE SILVER CUP 


Hanmah ( clasping him to her with a cry of joy) : He can 
walk again—see—his limbs are straight and fine—he said 
you would run about again. Oh, my baby, you can 

walk—you can walk-( she hides her face in his 

breast and cries softly.) 

Jacob: Then it was Elijah- (he is still a little doubtful). 

Mark ( from the door) : The moon is rising—the path to the 
river is as light as day. (His hand to his eyes.) I can 
see the old man now—look—doesn’t he see that the 
bridge—that it is down? ( Covers his eyes.) We cannot 
save him. ( They stand in horrified silence, no one dar¬ 
ing to move. Then the child runs to the window.) 

Benjamin: Mother—father—look, he does not need the 
bridge—the moonlight makes a path for his feet. ( Wav¬ 
ing his hand.) Goodbye—come again next year, trav¬ 
eler—goodbye! 

(The others hurry to the door and stand looking out. 

The moonlight falls upon the child’s upturned face.) 




OUT OF EGYPT 

A PASSOVER PLAY FOR SENIOR STUDENTS 

In Three Acts 




NOTES TO THE PRODUCER 


This play should represent the “big production” of the 
year in a large Sabbath School, since it recpiires a maximum 
of time and labor in preparation. It should not be at¬ 
tempted unless at least three months are allowed for re¬ 
hearsals of a large and difficult cast, since every scene must 
be handled with extreme reverence, with no suggestion of the 
tricks of the theater. The school should be able to furnish at 
least a half a dozen actors with sufficient maturity for the 
leading roles. 

If, however, a simpler production is desired, portions of 
Acts I and II and all of Act III may be given. 

The scenery may all be done in the Craig manner, with 
drapes for a background; a black one may be used through¬ 
out, or different colors for the various scenes. If special 
lighting effects can be employed, especially in Act III, so 
much the better, but this feature should be handled skilfully 
and thoroughly rehearsed, or it must be omitted altogether. 

The properties are few and simple; nearly all of them 
can be made by the actors themselves. Ordinary pot covers 
may serve as cymbals in Act III. 

The “Song by the Red Sea” may be chanted or sung to 
a traditional melody. The costumes of the Egyptian nobles 
and the princes should be rich and glowing with color; the 
servants and slaves should wear darker and plainer gar¬ 
ments. The Hebrews, with the exception of Moses, should 
Avear mean, tattered robes, Avhich must not be allowed to look 
grotesque. Tissot’s pictures of the Exodus will be found 
most suggestive in visualizing the various characters. 


467 


CHARACTERS 


Egyptians 


Pharaoh . Ruler over Egypt 

Bithiah . His Daughter 

Shepi . His First-horn Son 


Prince of Ammon. 
Prince of Moab. 


Randor . An Egyptian Taskmaster 

Orus . His First-horn Son 


Councillors, Priests, People of the Court, Peasants, Princes 
from Other Lands, Servants, Dancers, Slaves 


Hebrews 


Moses 

Aaron 

Miriam 

Abiram 

Dathan 

Sarah, an old woman 
Dinah 

Rachel, her daughter 
Marah 


Elizur 


Elders, Men, Women and Children 


TIME—The Exodus from Egypt. 

PLACE—The Palace of Pharaoh, Goshen, the Banks of 
the Red Sea. 







Out of Egypt 


ACT I 

A Deliverer from Egypt 

It is early morning, and the open court before Pharaoh’s 
banqueting hall is decked with fresh garlands. Slaves pass 
to and fro bearing baskets of fruit and flagons of wine; they 
enter the hall upon the left. Enter Prince of Moab and 
Prince of Ammon with their retinues following them with 
gifts. They stand and speak among themselves. 

Prince of Moab: Must we wait before Pharaoh's door like 
very bondmen? From early dawn have we stood here, 
and vet he doth not come. 

Prince of Ammon: He is Pharaoh, ruler of the world, and 
we —(laughs bitterly )— we are indeed his bondmen come 
to lay our gifts at his feet upon his birthday. 

(Enter from the R., furtive and doubtful, a group of 
Hebrews, ragged and grimy, from the brickyards. There 
are a few sturdy men among them, Dathan and Abiram 
towering above the others; but for the most part they are 
trembling old men, women, young maidens and little chil¬ 
dren. ) 

Prince of Ammon: But who are these slaves who huddle be¬ 
fore Pharaoh's door? 

An Egyptian Councillor: They are of the Hebrew race, 0 
prince, who long have pleaded with me to come before 
Pharaoh on this day of rejoicing, that they might lay 
their petitions before him and urge him to make their 
yoke easier to bear. 

Prince of Moab: And is their lot so heavy? 

469 


470 


OUT OF EGYPT 


Egyptian Councillor: Ay! (As Sarah, a very old woman, 
totters in from the R., leaning upon a staff, and staring 
about her in a timid, dazed fashion, before she joins the 
others.) See the aged woman; in the days of Asher, her 
father, the Hebrews were a mighty people in the land, 
dear unto Pharaoh for the sake of his servant Joseph. 
But a new Pharaoh rose who knew not Joseph, and 
those who were mighty were cast down; they became the 
slaves, and today they toil in the brick-yards of Egypt. 
(He turns to greet a newcomer and the two princes talk 
together.) 

A Hebrew Woman: Think you that Pharaoh will listen? 

An Elder: For we have wrnited long. 

Dathan (scornfully) : And will wait longer, for who can 
bring us deliverance? 

An Elder: Only the God of our fathers. 

Dathan: -who was with our fathers, but has forgotten 

us! 

(Rachel, a girl of sixteen, hurries in from the R. and 

throws her arms about her mother. She seems greatly agi¬ 
tated.) 

Dinah (startled): My daughter! 

Rachel (breathlessly) : Oh, I was so frightened—just be¬ 
yond the courtyard—as I sought to overtake thee—the 
way was narrow— (she shudders) —and a chariot bore 
down upon me and I seemed to feel the horses’ hoofs 
trampling my face, and was cold with fear, and I could 
not move- 

Dinah (clasping her closer): Child—child- 

Rachel: And the driver laughed and would have driven over 
me—but a youth who rode beside him caught the rein. 
And he sprang to the ground and drew me aside and 






OUT OF EGYPT 


471 


sought to calm my fears. Then those in the chariot 
bade him make haste, and he hurried away before I 
might thank him for saving me. 

Abiram: And for what did he save thee—to wither and 
grow old in the brick-yards of Egypt! 

A Hebrew Woman: Yea, death is better than life for those 
who eat bread of our servitude. 

Sarah (who has seemed lost in thought, now speaks for the 
first time ): Yet a deliverer will come to lead us from 
the house of bondage! 

A Hebrew: But his name will be Death! 

Elizur: Hush—Pharaoh is about to enter the banquet hall. 

Miriam: And with him his daughter, Bithiah, the princess. 

(Pharaoh enters from the R. with great pomp and cere¬ 
mony, followed by Shepi, Bithiah and courtiers. The kings 
and princes from other lands bow before him and offer their 
presents.—Orus enters from the R., richly dressed, his ser¬ 
vants about him. He seems beloved of the common people, 
who crowd about him as he advances toward Pharaoh.) 

Rachel: Mother—mother—see-( points to Orus). 

Dinah: What is it, my child? 

Rachel: Yonder is the youth who saved me ( timidly ap¬ 
proaching Egyptian slave). Who is that youth with the 
cloak of scarlet who bows before Pharaoh? 

Slave: Orus, the eldest son of Randor, the first of Pharaoh’s 
governors. ( Curiously .) But what can he be to thee? 

Rachel: Nothing! (As she turns away.) The eldest son of 
Pharaoh’s governor! Better that I had perished than 
be saved to love the oppressor of my people. 

(The courtiers and the foreign kings retire into the 
background and Pharaoh and his train are about to enter the 
banquet hall.) 




472 


OUT OF EGYPT 


Abiram: Will ye remain as stones? Hasten, lest Pharaoh 
pass us by! 

(The Hebrews follow him timidly and throw themselves 

before Pharaoh.) 

Pharaoh: Who are these? 

Bithiah: They are people from among the Hebrews, 0 my 
father, who would petition thee on this day of re¬ 
joicing — 

Pharaoh: -which I will not have darkened with their 

gloomy faces! Let them be driven from my sight! 

Bithiah (as Pharaoh's attendants are about to obey his com¬ 
mand) : But hear them, my father, for they ask so 
little - 

Abiram (boldly): Only one day of rest among the seven, 
that we may have strength to labor the remaining six! 

Pharaoh: Ay, and have one idle day to plot treasons against 
me and to dream mad dreams that ye will be lifted from 
the dungeon to the throne—as Joseph before you. 
(Laughs.) The Hebrews are all Josephs, all mad 
dreamers of dreams. But I will give you scant leisure 
for dreaming! (Turning sharply.) Randor! 

Randor (bowing before him) : Ay, my master. 

Pharaoh: Ye have dealt far too gently with these slaves 
from Canaan. Henceforth even the little children and 
the youths and maidens will cease to eat the bread of 
idleness, and will toil in the brick-yards beside their 
parents —(his glance falling upon Rachel, he draivs her 
forward )—even as this maiden- 

Orus (as Rachel gives a frightened cry) : My lord—the 
child is afraid. (Pharaoh releases her laughingly, and 
he attempts to draw her to him protectingly, but she 
shrinks back.) The little maid I met even now in the 







OUT OF EGYPT 


473 


courtyard! ( After a long look.) Pharaoh will do thee 
no injury, nor could I find it in my heart to bring thee 
to harm. Why dost thou shrink from me? 

Rachel ( freeing her hands): Thou art a son of Egypt! 
(She clings to her mother with averted face.) 

Pharaoh: Thou hast heard my command, Randor! 

Rithiah: But, surely, 0 my father, thou hast already made 
the lot of these people so bitter that thou wilt not lay 
this new burden upon them. 

Pharaoh: And thou dost still plead for them? Hast thou 
forgotten the Hebrew boy I did spare for thy pleadings 
—the lad whom thou didst love as thv son—the lad who, 
when grown to manhood, forgot thee and thy mother- 
care and fled from our palace like a thief in the night, 
without a w T ord of farewell even to thee? 

Rithiah (sadly) : Nay, I have not forgotten. Perhaps it is 
the will of the gods that my own sons should die and 
that he whom I loved even more than my own blood 
should desert me. But do not visit his ingratitude upon 
the heads of his helpless brethren—be as merciful to 
them as thou wast to the babe Moses I drew from the 
waters so long ago. 

Pharaoh: No more! (Turning to the Hebrews.) And if ye 
presume to appear before my face again, the scourge 
shall teach you silence. 

(He enters the banquet hall with Bithiah and the people 
of the court and the strangers from afar following him. 
Orus seems about to speak to Rachel, who still clings to her 
mother, but Randor makes an angry gesture, and he follows 
his father after the others. The Hebrews remain in a de¬ 
spairing group in the center of the stage.) 



474 


OUT OF EGYPT 


An Elder: Oh, for a deliverer who would save us from un¬ 
der the paw of the lion! 

Sarah: But have I not told you how my father Asher car¬ 
ried in his heart the hope that a deliverer would come to 
us? Yea, this deliverer will come- 

Dathan ( scornfully ): As a mighty king, with his horsemen 
and chariots! 

Sarah ( dreamily ): Nay, for the Lord saves neither by char¬ 
iot nor by horsemen. Yet shall I see this savior of Israel 
when he comes, and I shall not taste of death until he 
leads me out of the house of bondage. 

An Elder (half believing) : But how will we know this de- 
• liverer of our people? 

Sarah (looking far off) : Our father Jacob told the thing 
to Joseph, and Joseph at his death told the secret to 
all his brothers and to my father, Asher. And my 
father told me the sign by which we should know our 
redeemer when he should come forth to lead us out of 
Egypt. 


Several Women: But the sign? 

Sarah ( entranced ): Thus spoke my father Asher: “For 
many years shall ye toil as bondsmen and eat your bread 
with tears; then one shall come to you whom the Lord 
God hath chosen and he will repeat in your ears the 
words of the Lord, declaring, ‘I have surely visited you, 
saith the Lord, and seen that which is done to you in 
Egypt.’ ” 

(For a moment those about him listen in silent awe. 
Then Abiram laughs scornfully.) 




OUT OF EGPYT 


475 


Abiram: Hopes and visions—visions and hopes! What 

hath our hopes brought us today but heavier scourge for 
our backs? Let the old women see visions and the 
young men—repeat them in the brick-yards of Pharaoh! 
(He is about to go off II., when he confronts Aaron, who 
has just entered.) Thou didst promise to be with us to 
present our petition to Pharaoh, 0 Aaron! Thou at 
least wast spared his mocking. (Sharply.) Why dost 
thou not speak? Dost thou, too, dream dreams and see 
visions ? 

i 

Aaron ( quietly; but tensely) : Yes, for as I was about to 
enter this place I thought I saw my father's son whose 
face I have not looked upon these many years. 

Miriam: Moses, our brother? 

Aaron: Ay, and dressed in the garments of a shepherd, and 
I would have spoken to him, when he signed for me to 
leave him and would not heed my words. 

Abiram: Another dreamer of dreams! 

(Moses enters slowly from the R. There is a long si¬ 
lence; even the skeptics are awed by his majestic appearance. 

Then Miriam goes to him with arms outstretched.) 

Miriam (seeking to embrace him) : Moses, my brother! (He 
does not heed her, but stares past her at the group of 
Hebrews.) 

Moses (slowly and quietly) : These are my brethren—and 
my house must be the brick-yards of Egypt—until I lead 
them into freedom. 

Abiram: Another dreamer of the brick-yards! 

Moses (thunderingly) : Silence! Mock me if thou wilt, but 
do not dare to mock the words of God! For He hath 
spoken to me and I have come out of Midian to speak 
His words unto you. 



476 


OUT OF EGYPT 


Hebrews ( murmuring ): Why trouble us with vain longings'? 
The Lord hath forgotten us! 

Moses: Nay, for the Lord liveth and we are still His people. 
Listen: I was keeping the flocks of Jethro, my father- 
in-law, and I came to the mountain of God, even unto 
Horeb. And the angel of the Lord appeared unto me 
in a flame of fire out of the midst of a bush; and the 
bush burned with fire, yet the bush was not consumed. 

(Murmurs of wonder among the people.) And I won¬ 
dered in my heart, and I said, “I will turn aside now 
and see this great sight, why the bush is not burned.” 
And God called unto me out of the midst of the bush, 
and said, “Moses, Moses!” 

Aaron ( breathlessly) : And thou 1 ? 

Moses ( simply ): I said, “Here am I.” And He said, “I 
am the God of thy father, the God of Abraham, the God 
of Isaac, and the God of Jacob.” I hid my face, for I 
was afraid to look upon God. And the Lord said, “I 
have surely seen the affliction of My people which are 
in Egypt, and have come to deliver them out of the 
hand of the Egyptians and to bring them up out of that 
land unto a land flowing with milk and honey. Come 
now, therefore, and I will send thee unto Pharaoh, that 
thou mayest bring forth my people, the children of Is¬ 
rael, out of Egypt.” 

An Elder: Did the Lord speak so unto thee? 

(The people draw closer about Moses to listen; only 

Sarah stands a little apart.) 

Moses: Ay, and He spoke further, saying, “Go and gather 
the elders of Israel together and say unto them: ‘The 
Lord, the God of your fathers, the God of Abraham, of 
Isaac and of Jacob, hath appeared unto me saying: I 
have surely visited you and seen that which is done to 
you in Egypt/ ” 



OUT OF EGYPT 


477 


Sarah: The words—the very words by which we were to 
know our redeemer when he came! (In a sort of ec¬ 
stasy.) “I have surely visited you and seen that which 
is done to you in Egypt.” Ay, the Lord hath seen our 
oppression and hath sent us thee. Praised be the God 
of our father Jacob, who hath spared me to see this 
day! ( Kissing the hem of his robe.) Praised be thou— 
our redeemer—the redeemer of Israel. ( The others press 
upon him, repeating the aged woman’s words with pas¬ 
sionate devotion.) 

Moses ( sternly ) : Nay—praise me not—but praise the One 
who sent me into the midst of you. 

(Enter Orus hastily from L. He is so eager to speak to 
Rachel that he draws her apart without noticing Moses stand¬ 
ing in the midst of the Hebrews.) 

Orus: I have just managed to leave Pharaoh’s side for a 
moment—I but wished to tell thee—even as I befriended 
thee this morning—so will I befriend thy oppressed 
people for thy sake. ( They converse apart.) 

Moses (to Dinah) : Who is yonder youth*? He doth not 
seem one of our people. 

Dinah: Nay—he is of the court—his father stands in high 
favor with Pharaoh. 

Moses: I would speak to him—bring him hither. 

Dinah: I dare not—he is of the court—the favorite of Pha¬ 
raoh — 

Dathan (with a bitter laugh) : And of these bondmen— 
—these tremblers—thou wouldst make a free people! 

(He goes out R., laughing scornfully.) 

(But by this time Orus has turned; his eyes seek Moses’ 
face; he wavers, hesitates, then comes forward and, bowing 
before Moses, kisses the hem of his garments.) 

A Hebrew: Such reverence from a prince of Egypt! 




478 


OUT OF EGPYT 


Orus (a little dazed) : When his eyes met mine I knew my 
captain stood before me! 

Abiram (abashed): And if a son of Egypt pay thee hom¬ 
age, can I still remain stubborn and hard of heart? ( fall¬ 
ing before Moses). Forgive me my unbelief! Speak— 
and I will follow thee though thou dost lead me to my 
death. 

Moses ( raising him): I will not lead thee unto death, but 
unto life and freedom. ( Extending his hand to Orus.) 
But what can I offer thee, who art of a people rich and 
powerful, while we ( points to the Hebrews about him) 
are a race of slaves and groan beneath the whips of the 
taskmasters ? 

Orus: Yet will I serve thee and do thy will. 

Moses ( taking a gold bracelet from his robe): Take this 
token to the Princess Bithiah and bid her return with 
thee here, that he who once received the bracelet from 
her hand may speak with her again. 

Orus (bowing): I will do thy will—my master! (He goes 
quickly into the banquet hall.) 

Moses (to the Hebrews) : Go—wait for me at the gates— 
when I have spoken with the daughter of Pharaoh I 
will join you. 

(They all go out led by Aaron and Miriam, murmuring 

among themselves. Sarah is one of the last; she leans upon 

Dinah’s arm. When she reaches Moses, she again attempts 

to prostrate herself before him, but he raises her.) 

Moses: Nay—honor me not—but honor Him who sent me. 
For I am but a man, weak and wavering, and not 
worthy of the work He hath given me to do. (He bows 
suddenly before her and places her hands upon his 
head.) Bless me, 0 woman who trusted through the 
years, and pray that I, too, may have thy faith and not 
falter. 



OUT OF EGYPT 


479 


Sarah (her aged voice breaking as she speaks) : 0 God of 

Abraham our father, Thou who didst preserve me 
through the weary years that I might gaze upon our de¬ 
liverer, let the might of his purpose burn in his heart as 
Thy bush did burn before his eyes, that he may lead us 
out of darkness into light, out of slavery into freedom. 

(She again turns to Dinah and they go out slowly, while 
Moses stands alone with upturned face, his lips moving in 
prayer.) 

Moses (passionately) : 0 God—they believe—they believe in 

me—help me to believe in myself! 

(Bithiah enters from the palace, preceded by Orus, who 
bows before her and retires. She is greatly agitated as she 
advances towards Moses, the bracelet extended in her trem¬ 
bling hand.) 

Bithiah: Moses—my son! 

Moses (drawing back) : Yea, Moses—whom thou didst save 
from the waters—but not thy son—for thou art a prin¬ 
cess of Egypt! 

Bithiah: Thou art he whom I have loved as a mother loves 
her first-born child. Yea, I am as a very mother to 
thee, for did I not give thee life anew when I drew thee 
from the waters? 

Moses: And of what worth was the life thou didst gain 
for me? 

Bithiah: Thou wast reared in this palace as my son. 

Moses: While my brethren groaned beneath the red whips 
of their taskmasters. 

Bithiah (hotly): Call not Israel thy brethren- 

Moses: They are my people and I have returned to them at 
last. 




480 


OUT OF EGPYT 


Bithiah ( bitterly): For a moment I did dream that thy 
heart yearned to be with me again—and that thou didst 
make this journey for my sake. But thy heart is of 
stone! Why should I look for a son’s love in thee? 

Moses: I have but one mother to love and serve—and she 
is Israel! 

Bithiah ( pleading ): Moses, forget this wild dream. How 
canst thou save this people? They are broken with 
labor—they have the spirit of slaves. 

Moses: Not I —but the Lord who sent me will save them. 
Tomorrow will I plead with Pharaoh for their souls. 

Bithiah: He hates thee, and if his anger flame against thee, 
thy life is forfeit. 

Moses: If I die, another man will arise to save my people. 

Bithiah: 0 thou art mad! Listen to my counsel, and forget 
that thou art one of these wretched Hebrews, and trust 
to me to plead with Pharaoh my father that he take 
thee back into favor. 

Moses: I cannot! 

Bithiah: Think of thy life in my palace—soft ease, servants 
to do thy slightest command- 

Moses: I would share the sufferings of my people- 

Bithiah: -to be as a prince of Egypt once more—to 

know again the friendship of Pharaoh himself, for I will 
plead with him for thy sake. 

Moses: No, plead with him for my people—that he grant 
them the mercy of life—or I must die with them. 
{Pleading.) 0 mother—for you have indeed been as a 
mother to me—it is for one thing only that I sought 
thee. Thou who in pity didst plead for one miserable 






OUT OF EGYPT 


481 


babe from among the Hebrews and rear him as thy own 
child, now be as a mother to my unhappy people and 
lift them into life. 

Bithiah: I will plead with Pharaoh for thy people. ( She 
approaches him.) And in return—will thou not come 
back to me and be my son once more? 

Moses ( drawing back ): Nay—there can be naught between 
the daughter of Egypt and the son of Israel. Think of 
me only as a child who hath died in his youth—for I am 
no longer thy son. 

Bithiah ( clinging to him and weeping) : Thou wilt not de¬ 
sert me when I am lonely and have no child save thee! 

%/ 

Thou wilt give me thy love now for the love I gave thee 
when a child. ( For a moment he wavers and she draws 
him closer.) Thou wilt indeed be my son once more? 

{Moses, after a severe inward struggle, removes her 

hands and is about to depart.) 

Moses: Farewell, princess! 

Bithiah {sobbing): Where wilt thou go? 

Moses {quietly) : I go to seek my brethren. {He leaves 
quickly. Bithiah sinks to her knees weeping, her face 
covered with her hands.) 



ACT II 


God Hardens Pharaoh's Heart 

It is late afternoon—near sunset. The throne room of 
Pharaoh is shown with the ruler over Egypt upon his 

throne, his princes and councillors about him. Neo.r the 

open doors on the L., through which glimpses of the royal 
gardens are seen, the young prince, Shepi, lounges upon a 
couch, several attendants fanning him, while a number of 
younger courtiers and dancing girls are grouped at his feet. 
At the opposite door on the R. are huddled the Hebrews seen 
in the first Act. Before Pharaoh stands Moses, his hand 
raised in an attitude of command; a little behind him stands 
Aaron. As the scene grows more intense, the Hebrews at 
the door advance and group themselves about Aaron. 

Moses: Thus saith the Lord, the God of Israel: Let my 

people go that they may hold a feast unto me in the 

wilderness. 

Pharaoh: Who is the Lord, that I should hearken unto His 
voice and let Israel go? 

Moses: Yet hear me- 

Pharaoh: I have heard too much; it was but for my daugh¬ 
ter's sake that I permitted thee and thy rabble to come 
before me. (With an angry gesture.) Now depart from 
before my face. 

Moses: Not until I have delivered the word of the King 
of Kings, who hath sent me to plead the cause of His 
people before thee! Let us go, I pray thee, a three 
days' journey into the wilderness and sacrifice unto the 
Lord our God. 


482 



OUT OF EGYPT 


483 


Pharaoh: That they may plot in their idleness and devise 
new mischief in their hearts! Randor—and ye, my 

other taskmasters! ( They bow before him.) Ye shall 
no more give the people straw to make brick, as here¬ 
tofore; let them go and gather straw for themselves. 
And the tale of the bricks which they did make here¬ 
tofore ye shall lay upon them; ye shall not diminish 
aught thereof; for they be idle; therefore they bid their 
leader come to me, saying, “Let us sacrifice to our God”. 
Let heavier work be laid upon the men that they may 
labour therein; and let them not regard the lying words 
of those who would lead them into evil! 

Randor: All thou hast laid upon us will we do unto the 
Hebrew slaves. 

Pharaoh: It is well! ( Turns mockingly to Moses.) Behold, 
what succor thou hast brought to thy people, 0 helper 
of Israel! 

Dathan ( stepping forward boldly) : 0 ruler of Egypt, why 

wilt thou punish us and lay upon the backs of thy ser¬ 
vants still heavier burdens for the sake of this man, 
Moses? ( Assenting murmurs from most of the He¬ 
brews.) Truly, we of Israel are as a lamb seized upon 
by the wolf—and thou ( turning fiercely to Moses) —thou 
art the gentle shepherd who would save us from the 
jaws of the wolf—and doth tear us piecemeal from his 
mouth. 0 Pharaoh, hearken not to this man who pleads 
for Israel; be thou our loving father even as thy sire 
was in the days of Joseph. ( Further murmurs of as¬ 
sent and cringing among the frightened Hebrews.) 

Pharaoh ( jeeringly to Moses) : 0 shepherd of Israel, thy 

very sheep turn against thee! (To Randor and the 
taskmasters) : Remember to make their burdens so heavy 
that they will have no time to dream of the golden days 
of Joseph their father. 



484 


OUT OF EGYPT 


Orus ( throwing himself before Pharaoh) : 0 my master, 

spare this people and listen to the prayers of their 
leader, even though his own turn against him. Not for 
his sake, not for the sake of his God, grant his request, 
but even for the good of Egypt, let his people go from 
the midst of us. 

Pharaoh: Hath this man bewitched thee, 0 son of Randor, 
that thou wouidst plead his cause? 

Orus: 0 my master, mock him not, for he is mightier than 
we are, and the God he serves is more powerful than 
the gods of Egypt in their might! 

(Murmurs of amazement and horror among the Egyp¬ 
tians at his blasphemy. Young Shepi rises from his couch 

and joins the courtiers about the throne.) 

Pharaoh: Dost thou dare blaspheme against the gods of 
Egypt even before my face? 

Orus ( boldly ): Yea, my master, for I have seen our ancient 
gods put to shame before the God of the Hebrews. 

An Aged Priest (as angry mutterings increase) : He is 
stricken with madness! 

Orus: Nay, I am not mad. But, 0 men of Egypt, ye are 
mad and blind, yea, blind to the wonders that the God of 
Moses hath wrought in the midst of us. Have ye for¬ 
gotten the plagues that the word of His servant Moses 
hath brought upon our land—how our rivers have 
seemed to turn into blood ( wailing among the people) — 
our fields devastated with hail—our cattle afflicted (the 
wailing increases) —even our own bodies smitten with 
diseases this man Moses hath brought to soften your 
hearts that ye may be merciful to Israel? 

Certain Egyptians: 0 Pharaoh—we have suffered—listen to 
this man whose God is more powerful than the gods of 
Egypt! 

Aged Priest: This lad would incite others to blasphemy! 




OUT OF EGYPT 


485 


Another Priest: The misfortunes that have come upon us 
are due not to the God of Moses, but to our own gods, 
who are angered that such blasphemers be allowed to 
live beneath the heavens! 

Other Egyptians: Let him be slain—it is he who hath 

brought this woe upon us—he is hateful to our gods— 

slay him- ( They struggle to reach Orus, who is 

surrounded and protected by Pharaoh’s guards.) 

Pharaoh ( as the mob’s crying dies into sullen murmurs ): 
Peace—he wfill be punished—peace! 

Orus (appealing to Shepi) : Prince, thou art the beloved of 
thy father, and his eldest son. Plead with him for the 
sake of us, who will some day be thy subjects. Plead 
with him not to harden his heart against Israel, lest the 
God of Moses lay His hand upon thee in His anger 
against Egypt. 

Shepi (lazily) : The walls of my father’s palace are strong 
—and his guards are faithful. I fear not the God of 
Israel. 

Orus (madly) : Art thou also blind—hast thou not yet seen 
that the gods of Egypt are as dust before Him? 

Egyptians (led by their priests) : Slay him—he brings evil 
upon us—slay him- 

Pharaoh: Peace—he will be punished. Yea, if he were my 
own first-born, should he taste of death. (He puts his 
hand for a moment upon Shepi’s shoulder.) But it 
grieves me, 0 my faithful Randor, to sentence him, thy 
only son. 

Randor (fiercely) : He is no longer my son. 

Orus: 0 father—father! (He hides his face in his robe.) 

A Priest: 0 Pharaoh, slay not this rash youth. Rather give 
him into our hands, that by fast and scourge we may 
teach him to reverence the gods of Egypt and tremble 
before their power. 





486 


OUT OF EGYPT 


Pharaoh: Yea, cast him into the dungeon of your temple, 
and do not let him look upon the sun until he is ready 
to acknowledge that the gods of Egypt are supreme 
upon the earth. 

Rachel ( flinging herself before the throne ) : 0 Pharaoh— 

he hath risked his life for mine—make me a prisoner— 
but let him go free. 

Dinah ( drawing her back) : Peace, my daughter! 

Moses (his hand upon her shoulder as they drag Orus away): 
Weep not, my child. For he will sleep more peacefully 
in his dungeon than the son of Pharaoh upon his silken 
couch. 

Abiram (in bitter shame to Dathan) : Yea, the stranger suf¬ 
fers for our God, while we of Israel mock His servant! 
(To Pharaoh) : O king, this Moses is not as other men 
and his God is not as other gods. I who have mocked 
at his words am filled with shame; for the God of the 
whole earth speaks through his lips and all men must 
give heed to him—even as this lad of Egypt has done. 
He hath wrought wonders in our midst, indeed—the 
rivers of blood and the plagues upon man and beast. 
But greater than his power over earth and sea and air 
is his power over the hearts of men. Yea, I wonder how 
even thou, Pharaoh, canst harden thy heart against him. 
Then let Israel depart from this place; let the men of 
Egypt give their hearts to the God of the Hebrews and 
forget the gods of their fathers. 

Pharaoh: I fear not this God—nor do I fear His people. 
But they shall, indeed, be driven forth from the land— 
they shall labor in the brick-yards until they die beneath 
their burdens and no longer have the power to turn the 
hearts of the men of Egypt unto their God. 

(A man dressed in rude garments rushes in and pros¬ 
trates himself before the throne.) 





OUT OF EGYPT 


487 


Guard: How darest thou rush into Pharaoh’s presence un- 
summoned- 

Peasant: 0 Pharaoh, I am but a tiller of the soil, and my 
fields are narrow, and the grain is scanty in my bins. 
And my cattle have died from the plagues that have 
come upon them, and the plague of hail destroyed my 
fruit trees and the herbs in my fields. 

Pharaoh ( mockingly ): Pray thou to Isis for abundant har¬ 
vests—not to me! 

Peasant: 0 my master—if thou wilt not give us bread we 
will perish. (He points to the group of frightened men 
and women who have followed him and are now huddled 
about the outer door.) But yesternight my neighbors 
and I were poor folk—but not beggars. For we still 
had a scanty harvest of grain to gather—but now- 

Peasants (wailing): -the last of our grain—the last of 

our trees—woe—woe- 

Pharaoh (impatiently) : What new misfortune hath come 
upon thee? Speak! 

Peasant: A wind blew up from the east and it blew all the 
day and it blew through the night- 

Peasants : Woe—woe- 

Peasant: -the wind brought a swarm of locusts—they 

seemed to cover the face of the whole earth that the 
earth was darkened—and they did eat every herb of 
the land and all the fruit of the trees that the hail had 
left; and there remains not any green thing, either tree 
or herb of the field. 

Peasants: The fields were stripped bare—we will starve— 
Pharaoh, save us! 

Moses: 0 Pharaoh, give heed to the words of the God of 
Israel—for this is His doing, and thy people perish be¬ 
cause of thy hardness of heart. 










488 


OUT OF EGYPT 


Pharaoh (rising in wrath): Begone! (The guards drag the 
peasant away and he crouches with the others at the 
door. Pharaoh turns threateningly to Moses.) This 
last plague hath the gods of Egypt sent upon us as a 
punishment since I have allowed thy words of blasphemy 
to go unpunished. Get thee from me; take heed to 
thyself to seek my face no more, for in the day thou 
seekest my face thou shalt die. 

(He descends from his throne and departs, followed by 
his court, while the guards drive the peasants away. The 
Hebrews form a despairing group about Aaron, who seeks 
to comfort them. Hs the young prince surrounded by his 
merry companions is about to pass out into the gardens, 
Moses catches his robe and detains him.) 

Moses: Thou art thy father’s first-born son and dear to his 
heart. He will heed thy words though he be deaf to 
the prayers of his daughter Bithiah. Go thou to him, 
cling to his robe, and plead with him that he spare 
Israel and permit my people to depart in peace. 

Shepi ( insolently ): Pray to thy God to soften my father’s 
heart—my ears are sick from the pleadings of thee and 

thy people. Take thy hand from my robe, or- 

(threatening). 

Moses (sadly, without anger): 0 youth, I take my hand off 

thy robe, but when the God of Israel lets fall His hand 
upon thee and thy companions He will not let you go. 

(For a moment Shepi gazes at Moses in sudden fear. 
Then he throws back his head and laughs merrily. Then 
from where they have waited for him about the throne rushes 
the group of youths and maidens, flower-crowned and ra¬ 
diant. They sing and dance as they gather about him, the 
maidens playfully tossing their garlands about him like 
chains. Some dance and others sing, all in striking contrast 
to the bitter despair of the group of Hebrews gathered about 
Aaron.) 




OUT OF EGYPT 


489 


A Maiden: Come—let us feast! 

A Youth: See—it is cool and pleasant in the gardens of thy 
father- 

Maidens: We will sing for thee. 

A Youth: The pools in the gardens are cool and refreshing— 
we will bathe- 

Youths: Come—come! 

Shepi ( laughing aloud in his joy) : Lead me, dear compan¬ 
ions—I will follow*—we will hold a court of our own 
among the roses—I will grant you all your wishes—and 
when I sit upon the throne of Pharaoh- 

Youths and Maidens: Come—come—why lose a moment of 
our playtime? ( They drag him out into the gardens, 
laughing and singing as they go.) 

Moses ( wistfully) : Must he, too, suffer in his youth and 

joy- (He goes slowly to the group of Hebrews 

huddled by the door. From the gardens comes the sound 
of laughter and singing; it is heard throughout the scene 
which follows.) 

Aaron: 0 Moses, my brother, is there no help for us? 

Moses: Fear not; it hath been told me that God will harden 
Pharaoh’s heart that he will not hearken unto us until 
the wonders of the Lord are multiplied in the land. 
We must wait- 

Abiram: How can we wait when every day our old men and 
our youths sink beneath the whips of the taskmasters? 

Rachel ( sobbing ) : When those who would plead for us are 
silenced! 

Marah (creeping timidly forward and showing Moses her 
child, wrapped in her robe) : And even our little chil¬ 
dren suffer from Pharaoh’s oppression. See my little 
one—my only one—I have bound him to my back and 
carried him with me to the brick-yards—even until today. 









490 


OUT OF EGYPT 


Moses ( looking at the child with a tender pity in his face ): 
-and today ¥ 

Marah: Today the noon-day sun must have laid him low— 
he grew faint—he would not eat—he hath been white 
and still like this for several hours—but he is not dead— 
he cannot be dead! 

Miriam ( seeking to draw her away) : My brother Moses is 
troubled with many other griefs! 

Moses: Nay, Miriam, this woman’s child is to me even as 
are the whole family of Israel—as in days of old the 
lamb I carried upon my arm was as precious as my 
whole flock. Let me see thy child. 

Marah ( eagerly ): Thou art a worker of wonders—even 
though my little one be—ah, I cannot say it (weaken¬ 
ing). But thou wilt restore him to me—he is my only 
child—my first-born. 

Moses (sadly, covering the child’s face with the mother’s 
veil ) : Grieve not too bitterly, my sister, for the Lord 
our God hath seen the sufferings of thy little one, and 
He will soon give ear to our crying. 

Marah: He cannot be dead—he hath only swooned. I have 
lost father and brothel’s and husband—and now! Save 
him, thou man of God—save my little one. (She sinks 
at his feet weeping and imploring.) 

Moses (raising her gently) : Sister—if thou wouldst have 
me restore thy child to thee- 

Marah (as the others murmur among themselves) : Thou wilt 
save him? 

Moses: I ask but one little task of thee. 

Marah: I listen, master—tell me- 

Moses : Bring me but a handful of corn—but a handful- 








OUT OF EGYPT 


491 


Marah ( breathlessly) : Yea— ( turning to her neighbors .)— 
thou wilt give me of thy store—or thou- 

Moses ( detaining her) : Take but a kernel from each house. 

Marah: There is no soul in Goshen that will refuse me- 

Moses: But remember one thing—thou must not take a ker¬ 
nel from a house where Death hath crossed the thres¬ 
hold. 

Marah ( hardly heeding him) : I will bring it to thee— 

Dinah, thou wilt give me a kernel of corn- 

_ « 

Dinah (in pity) : Yea, but thou must remember that my 
two brothers and this child’s father ( drawing Rachel to 
her) are dead. 

Marah: But thou, Miriam? 

Miriam: My parents have left me. 

Marah: 0 Sarah, but a kernel of corn! 

Sarah: Death hath entered the doors of my dwelling many 
times and I am the last of my father’s house. 

Marah ( turning to Moses, who has been watching her with 
a face of pity and understanding) : I can find no house 
into which Death hath not come. 

Moses (in tender rebuke) : Then, my sister, thou dost know 
how that the whole world weeps with thee in thy sor- 
row —f or these women, even as thou, have sorrowed in 

their love. 

Marah (sinking at his feet and sobbing) : My baby slain by 
Pharaoh—but yesterday he laughed upon my breast. 

Dinah: My brothers and my husband—slaughtered in the 
brick-yards of Pharaoh! 

Other Women: 0 Marah, thy loss is our loss. 

A Hebrew Woman: My babe died yestermonth. 







492 


OUT OF EGYPT 


Marah ( unheeding ): But yesterday he laughed upon my 
breast. 

Moses ( more to himself than to the others) : We know not 
His ways—but He will guide Israel as a shepherd guides 
his sheep. ( Suddenly he breaks down and takes the lit¬ 
tle bundle from Marah, holding it aloft as a sacrifice.) 
But this little one—another lamb laid upon Thy altar— 
0 Lord of Israel—how long—how long—how long! 

(From the gardens comes the song of the prince and his 
companions.) 




ACT III 

Isreal Leaves the House of Bondage 

SCENE I—It is near midnight within the house of 
Moses in Goshen. Without all is darkness, glimpsed through 
the two small windoivs and the door at the hack of the stage; 
within the torches burn dimly. A long plank table stretches 
down the center of the room; about it are grouped elders 
from among the Hebrews, staves in their hands, burdens 
upon their backs; the women are soothing the younger chil¬ 
dren and making piles of the matzos, which they place in 
their bags. 

Moses: And it shall come to pass when ye have come to the 
land which the Lord will give you according to His 
promise, that ye shall do this service. And it shall come 
to pass when your children shall say unto you: “What 
mean ye by this service?” that ye shall say: “It is the 
sacrifice of the Lord’s passover, Who passed over the 
house of the children of Israel in Egypt, when He smote 
the Egyptians but saved Israel alive.” 

Aaron: Will the Lord send another plague upon Egypt ere 
Pharaoh bid us depart? 

Moses: Even at midnight will the Lord do as He hath 
spoken, and will smite the Egyptians, but Israel w T ill He 
save alive. 

Sarah ( entering , leaning upon the shoulders of Dinah and 
Rachel ): It is so dark without—it is so dark. 

Moses: Fear not—it is but the darkness which the Lord 
hath sent to cover the face of Egypt, but behold, in our 
dwellings alone is there light. 

493 


494 


OUT OF EGYPT 


Sarah ( moaning in her weariness) : So long—so long—I have 
waited so long—surely my eyes must close in death ere 
we depart. 

Dathan ( impatiently) : Why may we not go forth while 
all Egypt cowers under the darkness? 

Others: Must we wait longer? 

Dinah: Will the darkness never lift? 

Rachel ( suddenly breaking into loud weeping) : And the 

darkness of his prison house-Orus, who pleaded for 

us—Orus! 

Aaron ( sternly ) : Weep not for this son of Egypt! 

Moses: Nay, Aaron, my brother, for he hath felt the woe of 
Israel, and his sorrow hath become our sorrow. 

Rachel ( clinging to his robes) : 0 master, thy words come 

before God—pray for him I love that he may be deliv¬ 
ered from his prison house! 

An Elder: Nay, pray for us who still dwell in the house of 
bondage. 

A Woman: How long must we wait until the darkness lifts? 
Save us now—for only thou canst save! 

Moses: I have no power to save. It is He alone who will 
save us. But wait- 

Several Men ( interrupting) : Have we not waited? We will 
go mad from this long night of terror—let us go 
forth- 

Others {taking up their cry) : Yea, let us go forth- 

Moses {in a broken voice) : 0 God of my fathers, how can 

I bear this burden which Thou hast placed upon me— 
how can I be as a shepherd to this people who will not 
wait upon Thy word? 

Abiram: Lead us forth- 

Elizur: -yea, ere the darkness lift- 


























OUT OF EGYPT 


495 


Aaron: 0 my brother, heed their words—let us escape in 
the darkness. 

Moses (-firmly) : Not until He sends me the sign to depart! 

Several Men: And that sign will come- 

Moses ( raising the hour-glass from the table ) : See—it is 
but a moment more until midnight—with midnight must 
come the sign for which I wait. 

(There is a long, tense silence; everyone stands as still 
as a graven image; then, as Moses points to the glass, a 
strange wailing is heard in the distance; it grows louder, un¬ 
til it swells to a chorus of lamentation and fear.) 

Hebrews (afraid to move): The sign-! 

Moses (thunderingly) : Yea* the sign that the Lord hath 
heard our crying and will deliver us with an out¬ 
stretched hand and a mighty arm. 

Egyptian Slave (running in and throwing himself before Mo¬ 
ses) : 0 depart—depart from the midst of us! 

Councillor ( enters, followed by servants, weeping and wail¬ 
ing) : Depart, lest Egypt become a land of graves. 
(Breaking down and lamenting with others.) 0 my first¬ 
born — 

A Servant: My eldest son — dead even as he slept - 

Egyptian Slave: My first-born, also—depart—depart- 

Egyptian Prince (staggering in) : My son—heir to my name 
—dead! 

Ain Egyptian: Yea, in every house of Egypt the first-born 
lies dead. 

Other Egyptians (tearing off their ornaments and thrusting 
them upon the Hebrews) : Here is gold —a bracelet—a 
diadem; see, it will make thee rich—take this—only de¬ 
part—depart. 

Hebrews (appealing to Moses) : Yea, let us depart—lead us 
forth from Egypt—the sign hath come—let us depart. 








496 


OUT OF EGYPT 


Moses ( unmoved ) : Shall we creep forth like slaves in the 
night! When the dawn breaks will we go forth before 
the eyes of men—a free people. 

{The Egyptians, both masters and men, have crept into 
a corner of tijie hut and are wailing for their dead. The 
Hebrews, with the exception of Rachel, who stands aside 
weeping, do not heed them, but crowd about Moses with ex¬ 
cited gestures.) 

Hebrews {one and another speaking) : Surely, it is time— 
see our staves in our hands! We have caught up our 
bread in the kneading troughs—we will have food for 
our journey—we dare not wait until dawn—if the dark¬ 
ness breaks Pharaoh will attempt to slay us- 

Moses: We will not depart like slaves in the night—but as 
free men. Nay, I will not lead you out of Egypt until 
Pharaoh himself doth plead for us to depart. 

Elizur {drawing Rachel before Moses) : See her weep—the 
shameless one! She weeps for the son of our enemy, 
when she should give praise to the God of our fathers 
who hath destroved those who hated us. 

Egyptian Noble: Yea, he hath cast us to the earth and filled 
our mouths with dust. 

Moses: Do not weep, my child, for it will be well with Israel. 

Rachel: But I do not weep for Israel—I weep for Orus— 
the first-born of his father—he whom I will never look 
upon again—since he hath died with the others. 

Abiram and Others: This is no time for tears—let us de¬ 
part! 

Egyptian Councillor: Leave the land else we must all perish 
with our other children. 

Egyptian Slave {crouching in doorway) : A torch— a torch 
flickering in the blackness—perhaps the darkness is 
about to lift. 





OUT OF EGYPT 


497 


An Egyptian: It comes nearer. 

Other Egyptians ( in joy and fear ) : The darkness will lift— 
we will look upon the sun again—the torch does not 
flicker- 

(Enter Orus in coarse prison garb. He is white and 

thin from his ordeal in the dungeons, but when he speaks 

his voice is high with joy.) 

Orus ( thrillingly ) : Praised be the God of Israel who raised 
me from the pit and drew my feet from death! 

Rachel: Orus—thou—thou- 

Orus ( drawing her to him and addressing Moses, while the 
others stand about him in awe) : In my dungeon in the 
temple, I heard whispers of the further marvels that the 
Lord of Israel hath wrought in Egypt. And though I 
knew Him not, I prayed that He would save Israel and 
lead him from the place of bondage—though I never left 
my prison house. I heard, too, of the great darkness 
that lay like a cloud upon the face of Egypt, and the 
priests, my keepers, became afraid. But in my cell 
alone was there light, and they marveled at the wonder, 
and so did I. 

Rachel ( half afraid) : Was it because thou wast accepted as 
a son of Israel? 

Orus: Yea; for when those of the temple lay dying about 
me—from the first-born of the high priest to the first¬ 
born of the meanest of the temple servants, I, the first¬ 
born of my father, looked for death. But lo, the doors 
of my prison swung open and a ray of light pierced the 
darkness and I followed it to thee—and to freedom. 
(To Moses): Surely, thy God hath accepted me, and I 
may follow thee and thy people and be one with them. 

Moses ( his hand on the boy’s head in blessing) : Thou shalt 
establish a house in Israel and thy children shall be 
blessed in the God thou hast come to serve. 





498 


OUT OF EGYPT 


Elizur: Is it not yet time? Let us depart! 

(A new clamour arises; Moses does not seem to heed; 
he stands by the door, his face raised to the sky. At last 
he turns, speaking quietly.) 

Moses: Above the palms I see the morning star. (For a 
moment he leans upon Aaron’s shoulder, weary, and al¬ 
most spent from the long vigil; then he draws himself 
up with an ejfort and speaks as a general addressing his 
army.) Take ye your burdens on your backs and your 
little ones by the hand; take your staves and the torches 
and go without and wait until I give you the word to 
depart. (They obey.) Go ye (turning to several of the 
younger men) and tell our brethren to take up their 
burdens and make ready without the doors of their huts. 
And when dawn breaks I will surely come to them. (To 
the Egyptians.) And bear ye witness that we go out of 
Egypt not in fear and trembling, but trusting in the 
Lord our God who hath delivered us. 

(The last of the Hebrev:s depart, the Egyptians follow¬ 
ing, with the exception of several of the nobles, who still lie 
mourning within the door. With the torches taken away, 
the room has grown so dark that it is impossible to distin¬ 
guish the face of Moses as he stands with uplifted hands 
and prays.) 

Moses (wearily): They believe me, God—they believe me— 
but where shall I lead them—and how shall I resist the 
might of Pharaoh if he delay and harrow us even at the 
borders of Egypt? 0 put new courage into their fear¬ 
ful hearts—and into mine! 

(In the silence that follows, a figure may be discerned 
creeping into the room, followed by several other forms 
which halt near the door. The newcomer approaches Moses 
and speaks through the darkness.) 

Voice: 0 my friend Moses, pray for me to thy God! 



OUT OF EGYPT 


499 


Moses: Who art thou, and what is thy name? 

Pharaoh: I am Pharaoh who stands pleading before thee. 

Moses: Art thou that Pharaoh who did say unto me: “On 
the day thou seekest my face again thou shalt die”? 
Why hast thou sought me? It is not the custom of kings 
to seek the huts of their bondmen. 

Pharaoh: My son- (he breaks off weeping, and those who 

have followed lament also.) 

Moses : Ay—thy son—safe -in thy palace! 

Pharaoh: My first-born—the heir to my throne—he lies dead 
upon his couch—even as the first-born of the slave who 
grinds the corn. 

Moses: Thinkest thou that he should be spared while the 
son of thy slave who was guiltless died for thy hardness 
of heart? 0 Pharaoh, Pharaoh, be grateful to the God 
of the Hebrews that He hath spared thee thine other 
sons. Thou hast afflicted and oppressed my people, yet 
will He be merciful to thee and to those who remain of 
thy household. Even for the sake of thy daughter whose 
heart hath felt pity for Israel. Now heed to His voice 
and all will yet be well with thee and Egypt. 

Pharaoh: I am as a broken reed before the God of the He¬ 
brews—as water spilled upon the ground. Let Him lay 
His commandments upon me and I will obey. 

Moses: Go thou to the doorway and speak to the people of 
Israel gathered there: “Ye children of Israel—ye are 
your own masters. Depart from among my people. 
Hitherto ye were the slaves of Pharaoh, but henceforth 
ye are under the authority of God. Go forth and serve 
the Lord your God.” 

Pharaoh: Nay—I will not- 

Egyptians: Ah, master, master—obey the God of Israel, for 
He is stronger than our gods- 






500 


OUT OF EGYPT 


Pharaoh: Then let the elders of Israel depart, and the heads 
of families, but not your young men nor your little ones. 
These shall I keep as hostage that the God of Israel will 
trouble me no more. * 

Moses: Nay, for today a new nation is born, and a whole 
people goeth forth from Egypt; we will go with our 
young and with our old—with our sons and our daugh¬ 
ters; yea, not a soul of Israel shall remain in the house 
of bondage. 

Egyptians: 0 Pharaoh—our father—let them depart lest we 
perish! 

Egyptian Nobleman: I lost my one child—but thou hast 
other sons to die. Now let the sons of Israel depart- 

Pharaoh ( after a long struggle) : Yea, they shall depart. 
(Goes to door and stands looking out into the darkness, 
which slowly lifts as he speaks.) “Ye children of Israel, 
ye are your own masters. Depart from among my peo¬ 
ple. Hitherto ye were the slaves of Pharaoh, but hence¬ 
forward ye are under the authority of God. Go forth 
and serve the Lord your God.” (A great cry of re¬ 
joicing bursts from the Hebrews who crowd about the 
door.) 

Moses (at door): Yea, praise the God of your fathers, who 
hath stretched out His hand to save Israel. Cry aloud 
to Him, for ye are no longer the servants of Pharaoh 
but belong to the Lord our God. (He advances a little, 
and they repeat after him in swelling chorus) : Hallelu¬ 
jah! Praise ye, 0 servants of the Lord, praise the name 
of the Lord, praise the name of the Lord! (He takes 
his place at their head, arid now the dawn falls upon 
their upturned faces.) 

Moses (simply) : Come, my children—it is dawn at last— 
let us go. 

(In the dim light one sees the Hebrews filing past car¬ 
rying their burdens upon their backs, leading their little ones 




OUT OF EGYPT 


501 


by the hand. A few carry torches. They sing in triumph 
as they pass. Pharaoh stands in the middle of the hut, his 
face covered with his robe, his attitude expressive of shame 
and despair. Suddenly he throws back his head, his face 
hard and determined as he calls several of the Egyptians 
about him.) 

Pharaoh ( pointing to the Hebrews passing the door) : Was 
I mad to tremble before a race of slaves ? I feared them 
in the darkness, but now it is dawn! See, they are 
broken with toil and have no weapons. (To one and the 
other): Go ye and alarm my horsemen—my men who 
run before my chariot—we will after them and slay them 
—they have the old and weak and helpless among them 
—they cannot journey swiftly—yea, we will surely over¬ 
take them ere they reach the banks of the sea. 

(The Egyptians steal out; Pharaoh is left alone, confi¬ 
dent and defiant.) 

SCENE II — Note: In order to effect a quick change 
of scene, it may be well to drop a painted background or 
even plain dark draperies for a setting. 

It is sunrise, just a little distance from the shores of 
the Red Sea. The children of Israel are shown grouped 
about Moses, who stands a little above them amongst the 
rocks. For a few moments they seem dumb with awe and 
wonder. 

Moses ( leading the others): I will sing unto the Lord, for 
He hath triumphed gloriously: 

Others: The horse and the rider hath He thrown into the 
sea. 

Moses— 

The Lord is my strength and song, 

And He is become my salvation: 

This is my God and I will praise Him; 

My father’s God, and I will exalt Him. 



502 


OUT OF EGYPT 


Miriam— 

The Lord is a Man of War: 

The Lord is His name. 

Others: Pharaoh’s chariots and his host hath He cast into 
the sea. 

Miriam— 

Thou didst blow with Thy wind, the sea covered them: 
They sank as lead in the mighty waters. 

Moses— 

Who is like unto Thee, 0 Lord, among the gods'? 

Who is like Thee, glorious in holiness, 

Fearful in praises, doing wonders'? 

Miriam— 

The Lord is a Man of War: 

The Lord is His name. 

Others: Pharaoh’s chariots and his host hath He cast into 
the sea. 

(The closing lines are repeated in glad triumph. The 
women and young girls, at a signal from Miriam, dance about 
her, some of them playing upon cymbals, others waving 
palms. As the dance is about to end the children of Israel 
repeat ): 

Sing ye to the Lord, for He hath triumphed gloriously; 
The horse and his rider hath He thrown into the sea! 

(And the curtain descends slowly.) 



RUTH OF MOAB 

A SPRINGTIME PLAY 


In One Act 






























NOTES TO THE PRODUCER 


This dramatization of the Book of Ruth may be given 
in its present elaborate form or with extreme simplicity. It 
will be found most suitable for an outdoor pageant play to 
be given at the end of the school year. Or it may be given 
upon a large stage as the joint work of several Sabbath 
Schools, with special emphasis upon the interpolated scenes 
which portray oriental life, thus enlarging its educational 
value. On the other hand, only the scenes written with dia¬ 
logue need be given if the play is desired for informal closing 
day exercises. Should the Sabbath School boast advanced 
classes in Hebrew, it would prove most valuable to translate 
a shorter version of the first and last scenes into Hebrew, 
to be given at the end of the year’s work. 

The songs and the harvest dance are left to the discre¬ 
tion of the producer; they may be either added or dropped, 
depending upon the length of the play. 

The text contains suggestion for an ideal indoor setting. 

The costumes should be modeled upon any of the modern 
illustrated books on travel through Palestine. Boaz should 
be more richly dressed than the harvesters. Naomi should 
have her flowing hair powdered and wear dark garments. 
Ruth wears garments of gray or blue until the last scene, 
when she should w~ear robes of yellow or delicate pink. 


% 


505 


CHARACTERS 


Boaz . A Landowner of Bethlehem 

Naomi . His Kinswoman 

Ruth, Orpah . Women of Moab, her Daughters-in-Law 

t 

Ezra . Nearest of kin to Naomi 

Nathaniel. An Overseer in the Fields of Boaz 


Peninnah, Zippoeah, Rachel . Women of Bethlehem 

Elders, Reapers and Gleaners; Shepherds and Children 








Ruth of Moab 


A curtain representing a road, surrounded by high 
rocks and dreary forests, the whole to be an impression of a 
lonely and dangerous wayfare for travelers. But from the 
right (of the spectator) enter three women, one of them old 
and gray-haired, and worn with sorrow, dressed in dark, 
mean robes; clinging timidly to her hand is a young girl 
whose delicate garments are travel-stained and torn from the 
briars by the roadside; but the older woman is supported by 
a girl in simple garments, who walks confidently and carries 
the burdens of the other two. As they reach the middle of 
the stage Naomi, for it is she, about to return to Bethlehem, 
turns and points backward to the land of Moab. Orpah 
shakes her head and hides her face against Naomi’s shoulder, 
weeping, but Buth answers her quietly. 

Ruth: Entreat me not to leave thee, Naomi, for I cannot. 

Nor will Orpah, the wife of thy son who is dead. 
Orpah: Yes, I will go with thee, my mother—but I am 
afraid—for is it not a weary journey to Bethlehem 1 ? 

Naomi (sinking upon a rock to rest) : Once the road from 
Bethlehem to Moab was not long, for I leaned upon the 
arm of my husband, and my two sons who are dead 

were with me. But today- (She weeps, and Orpah 

kneels beside her, seeking to bring her comfort.) 

Orpah: Do not weep, for Ruth and I will be as daughters 
to thee. 

Naomi: Nay, for your place must be in Moab, while I will 
journey to Bethlehem, the city of my father. As for 
you, my daughters, go, return each of you to her 
mother’s house; the Lord deal kindly with you, as ye 
have dealt with the dead and with me. The Lord grant 

507 



508 


RUTH OF MOAB 



that ye may find rest, each of you in the house of her 
husband. ( She kisses Orpah, who still weeps at her 
knee, then looks down to Ruth, who stands beside her, 
and draws closer, that she may embrace her also.) 

Ruth ( simply): Nay, but we will return with thee unto thy 
people. 

« 

Naomi ( putting her gently away ): Nay, my good children, 
for why should ye share the bread of bitterness that I 
must eat in my old age? Why should ye journey with 
me to a land of strangers to eat of the bread of pov¬ 
erty in a far-off place? (She rises.) Rather return ye 
to Moab; wed again, and know the love of a husband 
and of little children. 

Orpah ( clinging to her) : I would indeed go with thee— 
but my aged parents—they need me also and—( she 
shudders) the long, strange journey makes me afraid. 





Naomi (kissing her ): Peace be upon thee, my good daugh¬ 
ter— (embracing Ruth, but not daring to meet her 
eyes). Now return ye to the place where ye were born— 
and the blessing of the Lord rest upon both of you. 
(She picks up the burden which Ruth has dropped and 
seems about to resume her journey, but she cannot; in¬ 
stead she turns to the two girls, who go slowly off to 
the R. Orpah has her face hidden in her robe, but 
Ruth still carries herself bravely; her face betrays her 
inward struggle. Left alone, Naomi sinks down upon 
the stone again and hides her face. Her shoulders are 
shaken with sobs. Ruth returns, and kneeling, throws 
her arms about her.) 


Naomi (looking at her in amazement ): Thou—Ruth! Why 
art thou here again? (Rising.) Behold, thy sister-in- 
law has gone back unto her people and unto her gods; 
return thou after thy sister-in-law. (She says no more 
because of the tears which choke her words.) 








RUTH OF MOAB 


509 


Ruth (still kneeling and speaking in a tone of passionate 
entreaty )— 

Entreat me not to leave thee, 

And to return from following after thee; 

For whither thou goest, I will go; 

And) where thou lodgest, I will lodge; 

„Thy people shall be my people, 

And thy God my God; 

"Where thou diest will I die, 

And there will I be buried; 

The Lord do so to me, 

And more also, 

If aught but death part thee and me. 

Naomi (who has stood irresolutely during Ruth’s appeal, now 
draws the girl to her and assures her brokenly )— 

The Lord do so to me, 

And more also, 

_If aught but death part thee and me. 

(They leave the stage, L.; Ruth carries the burden and 
supports Naomi. As quickly as they have departed the cur¬ 
tains are drawn to show a curtain just behind them, repre¬ 
senting the gates of Bethlehem. [If painted drops are not 
used, the dark curtain should be exchanged for one of stone- 
colored gray.] It is sunrise. Before the gates sit elders 
talking together; a few little children are playing; a potter 
turns his wheel and several youngsters watch him with in¬ 
terest; reapers pass on their way to the field, among them 
Boaz, Ezra and Nathaniel; a shepherd passes carrying a 
lamb under his arm; a peasant with baskets of fruit. These 
all pause for a moment’s chat at the gate before passing off 
R. and L. to the day’s work. Several women with pitchers 
upon their heads stand gossiping among themselves; one car¬ 
ries a small child on her arm. All about is a pleasant hub • 
bub and activity, in striking contrast to the weariness 



510 


RUTH OF MOAB 


of Naomi and Ruth, who enter slowly from the R. They 
stand apart for a moment, then they advance toward the 
women near the well.) 

Ruth: Wilt thou not give my mother to drink from thy 
pitcher, for she is a-thirst and is very weary? 

Naomi (as Peninnah holds her pitcher out to her ): Dost 
thou not know me, Peninnah? 

Peninnah ( peering into her face): Can this be Naomi? 
(The others come closer and whisper among themselves.) 

Naomi: Call me not “Naomi”; call me “Mara”: for the Al¬ 
mighty hath dealt very bitterly with me. I went out full 
and the Lord hath brought me home again empty. Why 
call me Naomi, seeing that the Lord hath testified against 
me, and the Almighty hath afflicted me? 

Rachel (putting her tiny child upon the ground and talcing 
Naomi’s hands in hers) : My heart can feel thy sorrow, 
for it is even as mine own. See, my rags—for the death 
of my father and my husband hath left me in want, 
and I must follow the reapers and glean after them for 
food for me and my little child. 

Peninnah (giving water to Naomi) : Fear not; for our peo¬ 
ple will show mercy to the widow and to the stranger 
within our gates. 

Ruth (turning eagerly to Naomi) : Let me go with her unto 
the fields and glean among the ears of corn; I will bring 
home something to eat, that you may eat and be satis¬ 
fied. 

Rachel: Let her go with me, for I go to glean in the fields 
of Boaz, thy kinsman. 

Zipporah: And come thou home with me, Naomi, and rest 
thee after thy long journey. 

(Naomi embraces Ruth and goes out L. between Zip¬ 
porah and Peninnah. One by one the others have passed 



RUTH OF MOAB 


511 


from the scene, and no one remains but a gray-bearded elder 
who sits nodding at the gate, and the potter, still turning his 
wheel, while the little children watch him. Enter several 
reapers from R.) 

Rachel (pointing after them): Come, let us follow these 
men, for they are reapers in the field of Boaz, and we 
will glean after them. 

(She looks about her for her child, who has toddled off 
to join the children about the potter. With a good-natured 
shake, she raises him to her shoulder, and taking Ruth’s 
hand, leads her off L. after the reapers. The u drop curtain” 
falls for a moment, while the stage is cleared, and the u gate 
curtain” is drawn aside. When it is raised we see the reap¬ 
ers in the fields of Boaz singing as they work among the> 
sheaves. A few gleaners follow after them; several tiny 
children play and frolic in the shade. Boaz, entering from 
the R., picks up one and tosses him up in the air. The 
others run about him and cling to his robes. He approaches 
the reapers, who answer his salutation, but without ceasing 
in their work.) 

Boaz: The Lord be with you. 

Workers: The Lord bless thee, 0 master. 

(Ruth enters with Rachel from L., following the others 
who begin their work after a moment’s speech with Na¬ 
thaniel. Rachel, sending her child to play with the others, 
follows them, but Ruth lingers doubtfully in the foreground.) 

Boaz: The Lord be with thee. 

Ruth (her eyes seeking the ground) : The Lord bless thee 
also. 

Boaz: Hast thou come to work with the reapers? 

Ruth: Nay, only to glean after them. (Glancing up shyly.) 
Art thou, perhaps, a worker in the fields of Boaz? 
Thinkest thou that he will permit me to glean among his 
sheaves ? 



512 


RUTH OF MOAB 


- 


Boaz ( smiling ): Ay, I will answer for him. 

Ruth: I thank thee. (She goes to Rachel, who has been 
speaking to Nathaniel, and a moment later is busy 
among the sheaves.) 

Boaz (as Nathaniel comes past him ): Who is that damsel 
yonder ? 

Nathaniel: Rachel tells me that she is Ruth, a Moabitish 
maiden that came back with Naomi out of her own coun¬ 
try for love of her, and now toils among the gleaners 
lest her mother-in-law want for food. 

(Boaz nods as though satisfied; Nathaniel passes on, but 
Boaz remains in his place until Ruth passes; then he bids 
her stop and speak with him.) 

Ruth: Forgive me, my lord, for when I spoke before I knew 
not that thou wast Boaz, the owner of this field and the 
master of all who labor therein. 

Boaz: Nor did I know that thou wast Ruth, the daughter- 
in-law of my kinswoman, Naomi, and that thou didst 
leave thy father and thy mother to come to dwell among 
a strange people. The Lord recompense thy work and 
a full reward be given thee of the Lord, the God of Is¬ 
rael, under whose wings thou art come to trust. (A 
maiden passes, carrying a jar upon her shoulder and a 
basket of bread in her hand.) 

« 

Boaz (to Ruth ): Come hither and eat of the bread and dip 
thy morsel in the vinegar. (He makes a place for her 
among the sheaves and spreads the food before her, 
talking to her as they eat together.) 

(The reapers and gleaners have thrown themselves down 
to rest, and the little children serve them. A number of the 
workers dance a harvest dance, which must not give the idea 
of a formal number; on the contrary, it will be started by 
one group, who will drop back into their places while others 





RUTH OF MOAB 


513 


dance; they, too, will rest, while one or two couples dance; 
then a few from each group will join while the others eat, 
laugh and talk among themselves.) 

Nathaniel (as the dance ends) : Now go ye into the next 
field and reap there also. 

(The workers go out slowly, singing their harvest song 
as they go, and carrying their sheaves with them. Ruth also 
rises, goes to Rachel, and is about to pass out with her, but 
Boaz detains her, and they stand in silence until they are 
left alone.) 

Boaz (taking her hand) : I am thy kinsman, Ruth, and I 
will do the part of a kinsman to thee. See, I have wide 
fields; why should I reap my harvest where thou dost 
but glean? Hold out thy veil, Ruth. (She obeys, and 
he fills it with barley.) Take this to Naomi, thy mother- 
in-law, as a gift from me, her kinsman Boaz, and tell 
her the words that I have said to thee. (He is about to 
start after the reapers when she smiles up at him shyly, 
and he again takes her hand, finding it difficult to de¬ 
part.) What wilt thou, Ruth? 

Ruth: Only to thank thee—for why have I found favor in 
thy sight, that thou shouldst take knowledge of me, see¬ 
ing I am a stranger? 

Boaz: Am I as a stranger to thee, Ruth? (He takes her 
hands and forces her to look at him.) 

Ruth: Nay, my lord—and I am glad that I have come to 
Bethlehem. 

(He does not speak, but he wraps a portion of his man¬ 
tle about her and draws her to him protectingly. From the 
next field comes the singing of the harvesters. They stand 
gazing at each other, a great happiness in their faces, until 
the curtains shut them from the view.) 

(The curtains before us again show the gates of Beth¬ 
lehem, but now it is sunset. The nodding elder still sits be- 



514 


RUTH OF MOAB 


fore the gate, a little apart from the others. They are gath¬ 
ered about one of their number who reads to them from a 
scroll; reapers come from the fields, singing softly, many of 
them carrying sheaves; a few shepherds enter and stand 
leaning upon their long crooks and talking together; the lit¬ 
tle children are too tired to play now, but a few of them 
are making garlands, and two of the boys are making a small 
bower with some green branches. Rachel enters, carrying 
her gleanings in her veil,’ her child has fallen asleep upon 
her shoulder. In short, it is almost the same scene as that 
at sunrise, but now we have the quiet afterglow of the sun¬ 
set and a feeling of peace and rest instead of the active H 
bustle and color of the wakening day. During the scene it 
grows darker, then the stage is flooded with moonlight.) 

Boaz (to Ezra, with whom he enters from the R.): As I 
have told thee, Naomi, that is come again out of the 
country of Moab, would sell the parcel of land which 
was our brother Elimelech’s; there is none closer to re¬ 
deem it than thee; and I am after thee. 

Ezra ( sullenly ): I will redeem it for myself, that this land 
pass not out of the family of Elimelech. 

Boaz: But the day thou buyest the field, thou must buy it 
also of Ruth, the Moabitess, the wife of the son of 
Naomi who is dead. 

Ezra: I will not redeem it for the sake of Ruth, lest she 
wed again and the land becomes the possession of her 
husband and of her children. Take thou my right of 
redemption on thee, for thou art next of kin. 

Boaz: Will ten of you men of Bethlehem sit here beside me 
and hear what I have to say? (They group themselves 
about him and Ezra.) Ye all must know that according 
to the law of our fathers Ezra, next of kin to the wife 
of Elimelech, would lay his right of redemption upon 
me, that I may purchase the land which was her hus- 




RUTH OF MOAB 


515 


band’s and her son’s after him. Be ye witness, there¬ 
fore, that I take this right of redemption upon me? 

Elders (as Ezra removes his sandal and places it in the hands 
of Boaz ): We are witnesses. 

Boaz ( rising ): Ye are witnesses this day that I have bought 
all that was Elimelech’s and all that belonged to his 
sons, Chilion and Mahlon? 

People: We are witnesses. 

Boaz (seeing that Ruth has entered with Naomi, he draws 
them into the circle and others rise and stand about 
them ): Ye are witnesses that on this day I take to wife 
Ruth, the Moabitess, the daughter-in-law of Naomi? 

People: We are witnesses. 

Others ( chanting )— 

The Lord make the woman that is come into thine house 
Like Rachel and like Leah, 

Which two did build the house of Israel; 

And do thou worthily in Ephratah, 

And be famous in Bethlehem! 

(As they sing the shepherds form an archway with their 
crooks, the children with their green boughs, while some 
throw flowers before Ruth and Boaz, who, amid the singing 
and rejoicing, pass between them and go out, followed by 
the people of Bethlehem.) 

(Note: If desired, the curtains may be drawn again to 
show the harvest festival in the field, Naomi and Ruth among 
the people, while Boaz stands at the altar and chants the 
harvest service and the others join in the chorus .) 









“LET THERE BE LIGHT” 


A PAGEANT 

In Seven Episodes 













NOTES TO THE PRODUCER 


Throughout the pageant translations from the Hebrew 
appear, but if the actors know the songs in the original, and 
have had sufficient Hebrew to learn the translated poems, it 
is desirable to have them given in Hebrew. 

If time permits and long and frequent rehearsals are 
possible, and if enough children are available to fill the 
many roles without “doubling”, it will prove worth the labor 
to give the pageant entire. On the other hand, should a less 
elaborate entertainment be desired, or if it is impossible to 
obtain children for all the episodes, the number of episodes 
may be cut down with the corresponding introduction to 
these scenes, while the actors in the remaining episodes may 
be reduced, without lessening their pictorial effect, if given 
on a small stage. The dances used in the interludes may 
give way to solo dances and the choral effects may be 
dropped. 

A Processional at the beginning of a pageant is usually 
an anti-climax. It would be well to bring on one group at 
a time with the Processional, in historical sequence, at its 
close. 

Children of all ages should be used. Characters like 
Wisdom, the Old Man, etc., demanding voice, feeling and 
stage presence, should be given to adolescents—if possible, 
leaders and teachers. (It will be found invaluable in dealing 
with large groups thus to scatter responsible actors among 
the “supers” to direct them.) Seniors should be given speak¬ 
ing parts of secondary importance; younger children may 
come on as “supers” or present group dances; their very 
young brothers and sisters may appear as little children in 
such scenes as the Exodus. 


519 


520 


“let there be light” 


Costumes may be simple, but should be as accurate as 
possible, each group being sharply differentiated from the 
following group in color and general character of robes worn. 
For example, the primitive, dark, coarse garments of the 
Children of Israel in the Wilderness should be in striking 
contrast to the bright, luxurious robes of the courtiers and 
soldiers in the following episode in Jerusalem. For this 
reason the designing of the costumes should be in the hands 
of one person, instead of each group’s color scheme being in 
charge of another individual. 

The properties, few in number, can all be made by the 
actors themselves, except the Torch. It will be found safer 
to have a large torch wired by an electrician, the bulb being 
of red glass incased in a deep bowl at the end of a stick, 
representing a primitive torch. All the properties should be 
in place before the beginning of the pageant. No curtains 
should be needed, even if the pageant is given on an indoor 
stage. If the stage is small, the throne, instead of being at 
the head of a flight of stairs, can be suggested by a large 
chair, draped in gray, placed on a low dais. 

It will be worth the trouble and expense to print pro¬ 
grams. These will help spectators to follow the story more 
easily, and, if they contain the words of some of the less 
familiar songs, will do much to promote singing by the audi¬ 
ence. The title and descriptive quotation should be printed 
above the cast of characters. It may be found wise to print 
a very short synopsis of the pageant’s story before the cast 
of characters. Again, it is sometimes found advisable to 
print the entire pageant in cheap editions, to be used as 
prompt books by the actors and to be sold to the audience, 
at cost, for souvenir programs. 

The few poems to be given in chorus may be recited or 
set to some simple melody, not too popular in character. Or, 
if desired, they may be chanted. 



521 


“let there be light” 


The music and dances may be practiced separately. It 
may be found best to rehearse each group separately, with 
extra rehearsals for the leading characters of the Prologue. 
Gathering all groups together when perfect, for intensive ' 
dress rehearsals. This sounds strenuous—but a pageant that 
is worth doing is worth doing well. 



CHARACTERS 
(In order of their appearance) 

Prologue — Wisdom, Joy, Grief. 

Episode I — Abraham, Sarah, Abraham’s Servant, Isaac. 

Interlude — Miriam, Maidens, Moses, Aaron, Hebrews out 

of Egypt, Joshua. 

Episode II —Characters of Interlude. 

Episode III —Jeremiah the Prophet, Baruch the Scribe, King 

Jehoiakim, People of Jerusalem, Priests 
and Elders. 

Episode IV —Maidens of Jerusalem, Maccabean Soldiers, 

Judas Maccabeus, Priest, Old Man, An¬ 
other Priest, Little Child, People of Jeru¬ 
salem. 

Episode V —Vespasian (Roman General), Titus (his son), 

Roman Soldiers, Rabbi Yochanan ben Zak- 
kai, His Pupils, Messenger. 

Interlude —Jehudah Halevi, Page. 

Episode VI —Old Rabbi, Little Boy, Spanish Exiles. 

Episode VII— America, An Old Man, A Child, Exiles from 

Many Lands, Isaiah (Prophet of the New 
Day). 


“Let There Be Light” 


PROLOGUE 

A throne, as though built of natural rocks, should be set 
in the middle of the open place or stage where the action 
occurs. A long flight of stairs leads up to it. Enter Wis¬ 
dom dressed in long robes of shimmering blue, a silver crown 
about her head, a lighted torch in hand. Behind her ivalk 
her two attendants, Joy, dressed in flowing white, and Grief , 
in black, each carrying an urn. They take their places at the 
top of the stairs, Wisdom seated upon her throne, still hold¬ 
ing her torch, at her feet the symbols used later in the 
pageant; the two attendants are at either side, Joy on the 
right hand, Grief on the left. 

Wisdom I, Wisdom, daughter of Eternity, 

The Keeper of the Light which will not fail, 
Though Chaos at the last o’erwhelm the world, 
Have found my servant of the living lamp: 
Israel, the bearer of the Light of God, 

Who, through the years, will keep alive the 
flame, 

From sire to son, a deathless heritage. 

(Turning to her attendants) 

And you, 0 Joy, will show your radiant face 
But seldom to my keeper of the Light, 

And from your urn of blessings grudging give, 
While you, 0 Grief, will wander at his side 
Through weary ages in his endless search, 
And from your urn will he drink bitterness. 

523 


524 


“let there be LIGHT” 


{To audience ) 

For lie who bears aloft the torch of truth, 
Who yearns for wisdom as a man for bread, 
Will be rejected and despised of men, 

And, bruised, bear the stripes which heal the 
world. 




EPISODE I 


The Light in the Darkness 

Wisdom (as the group of desert folk, Abraham and Sarah 
leading them, enter from extreme right and begin to 
cross stage): 

Lo, Abraham, the first to bear the Light, 

Who gropes through darkness, dreaming of the dawn! 

(To Joy) 

Yours be the joyful task to guide his feet 
In paths of happiness and lovely peace, 

That he may raise a Torch to light the world. 

(Joy, taking the torch from Wisdom, descends the stairs, 
joining the group as it reaches the foot of the throne .) 

Joy (in the manner of a Herald): Thus saith the Lord: 
Get thee out of thy country and from thy kindred and 
from thy father’s house, unto the land that I will show 
thee: and I will make of thee a great nation, and I will 
bless thee, and make thy name great; and be thou a 
blessing: and in thee shall all the families of the earth 
be blessed. 

(Abraham bows in humble obedience, and, carrying the 
torch, leads his people a little to the left where the group 
halts. Joy remains at foot of throne.) 

Abraham: My people, we have bowed us before sun knd 
moon and stars. But having found the Light, we will 
worship only the greater Light that called them into 
being and bade them burn. And He will be our God. 
(In pantomime the group bows before God in worship.) 

525 


526 


“let there be» light” 


Joy ( pointing upward) : Look, Abraham, toward heaven, 
and tell the stars if thou be able to count them. So shall 
thy seed be, if thou art a faithful servant of the Light. 

Abraham: Yea, I will serve the Lord, seeing that He is God 
and there is none else besides Him. 

Joy ( pointing to right ): And for thy loyalty will He give 
thee this son to carry on the Light that shall burn for¬ 
ever. Through Isaac thy son shall the nations of the 
earth be blessed. 

(As Joy speaks, Isaac, a vigorous youth, appears from 
the right. When he reaches Abraham, the latter embraces 
him and gives him the torch.) 

Isaac: I will carry on the Light and those who come after 
me will walk in its path forever. 

{Isaac remains standing in his place, the torch in his 
hand, while Abraham and his group pass to the left of the 
stage where they remain during the rest of the pageant.) 

Wisdom In darkest slavery burns the Light of Truth: 

For Israel turns his face from brutish gods 
And like his father Abraham sets forth 
To seek and serve the ever-living God. 

Joy {from her place beside Wisdom, pointing to right )— 
AVhen as a wall the sea 
In heaps uplifted lay, 

A new song unto Thee 
Sang the redeemed that day. 

Thou didst in his conceit 
O’erwhelm the Egyptians’ feet, 

While Israel’s footsteps fleet, 

How beautiful were they!* 

_ 


* Jehudah Halevi. 





INTERLUDE 


The Dance by the Sea 

From the left comes Miriam leading her Maidens in 
triumphant dance. They are clothed in garments of white 
and gold, Miriam leading them, dressed in scarlet. The rest 
carry cymbals, but Miriam takes the flaming torch from 
Isaac and holds it aloft as she dances. 

Wisdom: The light of freedom flames in victory’s song. 

(As the Maidens begin their dance, enter from L. Moses 
and Aaron, white-robed, leading their group of men, women 
and children, slaves out of Egypt. During intervals of the 
dance they join in the swelling chorus, sung or chanted.) 

Miriam I will sing unto the Lord, for He hath tri¬ 

umphed gloriously: 

The horse and his rider hath He thrown into 
the sea. 

The Lord is my strength and song, 

And He is become my salvation: 

This is my God and I will praise Him; 

My father’s God and I will exalt Him. 

Chorus The Lord is my strength and song, 

And He is become my salvation. 

Moses (stepping from his place at foot of throne )— 

The Lord is a man of war: 

The Lord is His name; 

Pharaoh’s chariots and his host hath He cast 
into the sea: 

527 


> 


528 


Chorus 


“let there be light’’ 


And his chosen captains are sunk in the Red 
Sea. 

The deeps cover them: 

They went down in the depths like a stone. 

Who is like Thee, 0 Lord, among the gods? 
Who is like Thee, glorious in holiness, 

Fearful in praises, doing wonders! 





EPISODE II 
The Light op Freedom 

The dance over, Miriam and her Maidens join the group 
of Hebrews which Aaron leads a little to the right. Moses 
remains standing at the foot of throne. Joy has descended, 
carrying in her arms the Tablets of the Law; these she 
places in his hands, also the torch taken from Miriam. 

Wisdom These slaves who found their freedom are not 

free, 

Until they forge themselves the lasting yoke 
Of God’s own Law which brings man liberty. 

Joy (to Moses): Thus saith the Lord unto Israel: Ye shall 
walk in all the ways which the Lord your God hath 
commanded you, that ye may live and that it may be 
well with you and that ye may prolong your days in the 
land which the Lord your God giveth you forever. 

(Moses takes the Tablets and walks to the midst of the 
Israelites who have come out of Egypt.) 

Moses: Thus saith the Lord: Hear, 0 Israel, the statutes 
and the judgments which I speak into your ears this 
day that ye may learn them and observe to do them. 
(This episode may be played almost entirely in panto¬ 
mime, the Commandments being omitted.) I am the Lord 
thy God, which brought thee out of the land of Egypt, 
out of the house of bondage. Thou shalt have no other 
gods before me. 

Israelites: All that the Lord hath laid upon us will we do. 

Moses: Thou shalt not make unto thee a graven image, nor 
the likeness of any form that is in heaven above, or that 

529 


530 


“let there be light” 


is in the earth beneath, or that is in the water under the 
earth; thou shalt not bow down thyself unto them, nor 
serve them: for I, the Lord thy God, am a jealous God, 
visiting the iniquity of the fathers upon the children, 
upon the third and upon the fourth generation of them 
that hate me; and showing mercy unto thousands of 
them that love me and keep my commandments. 

Israelites: All that the Lord hath laid upon us will we do. 

Moses: Thou shalt not take the name of the Lord thy God 
in vain; for the Lord will not hold him guiltless that 
taketh His name in vain. 

Israelites: All that the Lord hath laid upon us will we do. 

Moses: Remember the sabbath day, to keep it holy. Six 
days shalt thou labor and do all thy work: but the 
seventh day is a sabbath unto the Lord thy God: in it 
thou shalt not do any work, thou nor thy son, nor thy 
daughter, thy manservant, nor thy maidservant, nor thy 
cattle, nor the stranger that is within thy gates: for in 
six days the Lord made heaven and earth, the sea, and 
all that in them is, and rested the seventh day; where¬ 
fore the Lord blessed the sabbath day and hallowed it. 

Israelites: All that the Lord hath laid upon us will we do. 

Moses: Honor thy father and thy mother: that thy days 
may be long upon the land which the Lord thy God giv- 
eth thee. 

Israelites: All that the Lord hath laid upon us will we do. 

Moses: Thou shalt do no murder. 

Israelites: All that the Lord hath laid upon us will we do. 

Moses: Thou shalt not commit adultery. 

Israelites: All that the Lord hath laid upon us will we do. 

Moses: Thou shalt not steal. 





531 


“let there be light” 


Israelites: All that the Lord hath laid upon us will we do. 

Moses: Thou shalt not bear false witness against thy neigh¬ 
bor. 

Israelites: All that the Lord hath laid upon us will we do. 

Moses: Thou shalt not covet thy neighbor’s house, thou shalt 
not covet thy neighbor’s wife, nor his manservant, nor 
his maidservant, nor his ox, nor his ass, nor anything 
that is thy neighbor’s. 

Israelites: All that the Lord hath laid upon us will we do. 

Moses: And what surety w T ill ye give to do all that ye have 
promised ? 

(The Israelites, coming forward, offer as surety their 
jewels brought out of Egypt; some of the younger men 
pledge the weapons they carry. Moses shakes his head. 
Then a woman brings forward her child and he nods, well 
pleased. Aaron lifts the child before the people as an of¬ 
fering.) 

Moses: If the little children of Israel pledge themselves to 
do the words of the Lord, then the commandments of 
the Lord are indeed safe forever. 

Little Children ( clustering about Aaron ) : All that the Lord 
hath laid upon us will we do. 

Moses: Then will the light of the Torch burn forever. (He 
blesses them; then he turns to Joshua, a tall man in glit¬ 
tering armor, and hands him the Light.) The Light will 
pass from father to child, from master to pupil. Take 
thou, 0 my Joshua, the Light which will pass from hand 
to hand even forever. 

(The group of Israelites led by Moses pass over to the 
first group at right of stage. Joshua remains a little dis¬ 
tance from throne, holding the Light.) 



EPISODE III 


The Flickering Flame 

Wisdom— 

The Tent of Meeting in the Wilderness 

Has grown to marble ’neath the reverent hands 

Of Solomon on his far-reaching throne; 

King after king in haughty majesty 

Brings offerings to the shrine where glows my Light, 

And white-robed priests are servants of the flame. 

My Temple stands in high Jerusalem! 

But some there are w T ho worship with their lips, 
Whose hearts have wandered seeking alien gods, 
Forgetting Him who led them through the sea 
To teeming lands of honey and of milk. . . . 

These love the Darkness rather than the Light! 

But midst the mockery of the Law He gave, 

The dark of error and the maze of sin, 

My faithful servants feed the flickering Flame. 

Grief ( pointing toward left): 0 Man of Sorrows, stricken 

with grief and afflicted, cry out against those who walk 
not in His ways, who have turned from the Light and 
stumble in the Darkness. 

(Jeremiah, dressed in mean, dark garments, enters, lean¬ 
ing upon the arm of Baruch, a slender youth, dressed in 
white, the scribe’s tablets in his hands, quills thrust through 
his girdle. Enter with great pomp King Jehoiakim and his 
court, priests, people of Jerusalem. They form a group 
apart. Jeremiah takes a scroll from his girdle, bids Baruch 
wait for him, approaches King.) 

Jeremiah: Thus saith the Lord to me, Jeremiah, His servant: 
Go unto the King Jehoiakim and place before him the 

532 



I 


“let there be light” 533 


words I have spoken unto thee, that he may know the 
will of the Lord. 

Jehoiakim ( reading scroll scornfully) : Thus saith the Lord, 
If ye will not hearken to Me, to walk in My law, 
which I have put before you, to hearken to the words of 
My servants the prophets, then will I make this house 
like Shiloh, and will make Jerusalem a curse to all the 
nations of the earth. 

Priests ( crying out angrily ): He would destroy the Tem¬ 
ple — 

People of Jerusalem: He hath prophesied evil against Jeru¬ 
salem — 

Jehoiakim ( tearing the scroll to hits) : Thus do I destroy the 
lying words of false prophets. (He scatters the paper 
hits upon the ground.) 

Jeremiah ( thunderously ): Thus will the Lord do with thee 
and with thy house and with all the inhabitants of Jeru¬ 
salem who know not His commandments and seek not to 
walk in His ways! 

People of Jerusalem: Slay him—he hath spoken evil of the 
king- 

Priests: He would destroy Jerusalem—slay him- 

Jehoiakim: Slay him not, for he is a mad prophet and his 
words are full of emptiness. 

(Jeremiah walks dejectedly back to Baruch. King and 
court remain at further end of stage. Jeremiah with a ges¬ 
ture commands Baruch to sit at his feet and write from his 
dictation. Baruch takes out his writing material and waits 
his words, as Jeremiah stands beside him holding the Torch.) 

Jeremiah: Though the King of Judah hath cut into pieces 
and thrown into the flames the rolls on which I have writ 
the words of the Lord, write thou another roll, Baruch, 
my son, and still another, of the words the Lord hath 







534 


“let there be light’’ 


given me to speak, that the words of the Lord may not 
depart from the midst of Israel. ( Jeremiah looks weep¬ 
ing toward the people of Jerusalem, some exchanging 
cups of wine, several maidens dancing in thoughtless 
merriment.) Thus saith the Lord ( dictating ) Behold, 
the days come that I will make a new covenant with the 
house of Israel and the house of Judah; not according 
to the covenant that I made with the fathers in the day 
that I took them by the hand to bring them out of the 
land of Egypt, saith the Lord. But this is the covenant 
that I will make the house of Israel after those days: 
I will write my law in their hearts and I will be their 
God and they shall be my people. 

(Baruch rises, holds aloft the scroll he has written, then 
rolling it and placing it in his girdle. He takes Jeremiah’s 
arm and affectionately leads him toward the group of the 
people of Jerusalem. Jeremiah seeks their midst, while Ba¬ 
ruch stands on the outskirts of the group holding the Torch 
Jeremiah has given him.) 

Wisdom (to Grief )— 

How often, daughter, has sad Israel drained 
Your urn of exile, wandering and of tears, 

And cried aloud in distant Babylon! 

People of Jerusalem (standing in their places)— 

By the rivers of Babylon, 

There we sat down, yea, we wept, 

When we remembered Zion. 

Upon the willows in the midst thereof 
We hanged up our harps. 

For there they that led us captive required of us songs, 
And they that wasted us required of us mirth: 

“Sing us one of the songs of Zion.” 

How shall we sing the Lord’s song 
In a strange land? 



535 


“let there be light” 


Single Voice (as others die away )— 

If I forget thee, 0 Jerusalem, 

Let my right hand forget her cunning; 

Let my tongue cleave to the roof of my mouth, 
If I remember thee not; 

If I prefer not Jerusalem above my chief joy. 

People of Jerusalem 

By the rivers of Babylon, 

There we sat down, yea, we wept, 

When we remembered Zion. 



EPISODE IV 

The Rescued Flame* 

Joy (pointing to right )— 

But through their darkness pierced a radiant star, 

The Light which sang “Return—return—return—” 

And back they journeyed to Jerusalem. 

Wisdom 

Where many faithfully served my holy Light, 

Until one sought to quench the living flame; 

Antiochus, who drenched my shrine with blood. 

Joy 

But lo, deliverance! The sacred oil 
Flamed forth to shed new glory on the earth. 

(Joy points to right, where enter, singing and rejoicing, 
a group of maidens hearing garlands and dancing before the 
victorious army of the Maccabees, Judas at their head. Wo¬ 
men and children bearing palms follow. Joy descends the 
stairs, takes the Torch from the hand of Baruch, who re¬ 
joins his group, and stands waiting to greet Judas and the 
Maccabees at the foot of the stairs. She places the Torch 
in Judas’ hands.) 

Joy 

Hail to thee, 0 Deliverer of the Light, 

Judas the Maccabee! 

(Cries from the group: Hail, Judas! Hail to the Mac¬ 
cabees!) 


* If this episode is omitted, retain the above speech of 
“Joy”, followed by speech of “Grief”, which begins Epi¬ 
sode V. 


536 





537 


“let theke be light” 


Priest ( stepping forward ): Hail, thou who hast saved Israel 
from the hand of the oppressor and Jerusalem out of 
the hand of them that mocked her. 

An Old Man: Now lead us thy people into the Temple that 
we may give thanks to the God of our fathers and show 
honor unto His name. 

Another Priest: Alas, we cannot light the Menorah, for the 
Syrians have wantonly polluted our holy oil. 

Voices from Crowd: No holy oil! The lamps remain unlit! 

Little Child ( stepping forward) : Lord Judas, I found this 
flask of oil while straying in the Temple. See, it is still 
sealed- 

A Priest: -and unpolluted by the heathen- 

Another Priest: We will light the Menorah- 

Judas ( placing the Torch in the child’s hand ): And thou 
wilt lead us into the Temple and bear our Torch, for it 
is through thee that our Menorah is lighted. Be thou 
faithful through the ages that the Light of Israel will 
stream forth, even to the uttermost ends of the earth. 

(Singing and rejoicing, they pass to the other groups, 
the child leading them and remaining a little on the outskirts 
nearer the throne, at the foot of which stands Joy. Grief 
comes down the stairs and joins her.) 







EPISODE V 


Flame fkom the Ashes 

Grief (pointing to group advancing led by victorious Romans 
under Titus and Vespasian, followed at distance by Jews, 
mourning and wailing, the last of the procession carry¬ 
ing a covered bier )— 

0 sacred Light, served by the Maccabees, 

Now well-nigh quenched by Israel’s blood and tears! 
The iron heel of Rome treads on the Torch; 

The iron hand of Rome drags in the mire 
The priestly vestments and the bowls of gold; 

The iron heart of Rome exults in pride, 

As Titus’ legions mount the Temple walls 
And bring the Glory of the World to dust. 

Joy (from her place )— 

Yet from the ashes living beacons burn 
To bless the world with healing and with light! 

Grief 

0 mourning Israel, raise your voice and weep, 

Don sackcloth and cast ashes on your head; 

Quenched is the Light of your Jerusalem! 

Joy: Nay, for the Torch will burn with widening flame. 

{The Romans, Vespasian prominent by his robes, armor, 
etc., reach the foot of the throne. As soon as they have 
reached their places, the group of wailing Jews approach, 
carrying the bier. Several Roman soldiers seek to stop them 
with uplifted spears.) 

Centurion: Ye may not pass. No man may leave the city. 

538 


539 


“let there be light” 


Youmg Jew: But we go to bury our master, Rabbi Yocbanan 
ben Zakkai. 

Centurion: Pass on. (He and his men lower their spears, 
the youths proceeding to Vespasian, where they lower the 
coffin and assist Babbi Yochanan ben Zakkai to step 
forth.) 

Rabbi ( saluting Vespasian) : Blessed art thou, 0 Lord our 
God, who hath deigned to allow a mortal to share thy 
splendor. 

Vespasian: What meanest thou? 

Rabbi: With these words, 0 my Lord Vespasian, the Jew is 
accustomed to greet those whom the Lord our God hath 
chosen to wear the imperial crown. 

Vespasian (startled): The imperial crown! I am a Roman 
general—not an emperor! 

.Rabbi: I see the imperial crown about thy brow—0 my em¬ 
peror! (He points to a runner approaching the group, 
clad in the liveries of the Boman court. The runner 
kneels before Vespasian and presents a scroll.) 

Vespasian (after reading the scroll and speaking in an awed 
voice) : The Senate proclaims me Emperor of Rome. 

(Bomans salute him, crying out, “All hail the Emperor!” 

One of the soldiers pulls off Vespasian’s golden chain and 

binds it about his head in semblance of a crown.) 

Vespasian (graciously to Babbi) : And thou, 0 rabbi, who 
hast been the first to acknowledge me—what can I give 
thee in reward? 

Rabbi: Nothing for myself, 0 my master—but I would plead 
for my people. 

Vespasian: Plead not for Jerusalem! It will be razed to 
the ground and my slaves will plough deep furrows 
over Mount Zion. 



540 


“let there be light’’ 


Rabbi: This is all I ask: Quench not the Light entirely 
lest the whole world perish in darkness. 

Vespasian: Old man, I have no time for thy riddles. 

Rabbi: Grant that these few faithful pupils who are with 
me be given safe conduct to Jabneh where I will found 
a school. There will we study the Torch and keep alive 
the Flame. 

Vespasian: Thy wish is granted—go in peace. 

(Vespasian leads his soldiers to join the former groups. 
Joy takes the Torch from the Maccabean child, who rejoins 
his group, and brings it to Rabbi Yochanan.) 

Joy: Cherish the Light to shine throughout the world. 

(Rabbi Yochanan leads his pupils to join their group 
and they sit together as he expounds the Law one of them 
has carried. One of the pupils stands at a little distance, 
nearer the stairs, the Torch in his hand.) 



Interlude—The Light in the Ruins 

Wisdom ( after Joy and Grief take their places beside her as 
before )— 

The years rolled on, and from the tiny spark 
At Jabneh cherished grew a mighty Flame; 

From Israel’s schools the rabbis brought the Light 
To distant Babylon, where sages sat 
Together in long converse o’er the Law, 

Sweeter than honey, yea, than honeycomb: 

Until one bore the Torch to sunny Spain. 

Joy ( descending tfhe stairs and pointing toward Jehudah 
Halevi, dressed in rich garments, who enters, followed 
by a young page, carrying his harp )— 

0 golden days of learning and of peace, 

In which Halevi dreamed—and sang his dreams! 

(Joy takes Torch from the pupil of the preceding epi¬ 
sode, and, returning, places it in Jehudah’s hand.) 

Joy 

Our rabbis bore the Flame through darkest night, 

And in their grief dreamed of Jerusalem; 

But though thy paths were pleasantness and peace, 

Thy faithful, yearning heart could not forget 
The ruined splendors of Jerusalem. 

Jehudah Halevi ( takes the harp from his little page and 
gives him the Torch) : My heart is in the east—I must 
return. ( Mounting several steps, he turns toward the 

right, touching his harp as he recites): 

541 


542 


“let there be light’ ’ 


0 City of the World, 

With sacred splendor blest, 

My spirit yearns for thee 
From out the far-off West. 

A stream of love wells forth 
When I recall thy day, 

Now is thy Temple waste, 

Thy glory passed away. 

Had I an eagle’s wings, 

Straight would I fly to thee, 

Moisten thy holy dust 

With wet cheeks streaming free. 

Oh, how I long for thee! 

Although thy King has gone. 

Although where balm once flowed 
The serpent dwells alone. 

Could I but kiss thy dust, 

So would I fain expire, 

As sweet as honey then 
My longing, my desire.* 

(Repeating the first stanza, Jehuddh Halevi and the 
page pass off to join the others, the latter remaining nearer 
the stairs and holding the Torch. Joy takes her place be¬ 
side Wisdom.) 


* Jehudah Halevi. 






EPISODE YI 
The Light op Exile 


♦ 


Grief 

0 golden days of Spain too quickly fled! 

A dreadful Flame burned in thy pleasant land, 

The fires of persecution which consumed 
Our holy ones, who singing went to God. 

(Descends steps and points to group of Spanish exiles who 
approach, prominent among them an old rahbi carrying a 
Sefer Torah, a little child leading him, for he is blind). 

Grief ( weeping ): What home hath Israel but the peaceful 
grave! 

Joy (coming down to her )— 

Man shall not quench the Light which is of God. 

See how the aged rabbi proudly bears 

His dearest treasure from the land of Spain— 

Not gold or jewels to buy him house or bread, 

Only the Torah which his fathers knew. 

Wisdom (from her place as the procession stops before the 
throne )— 

An age-worn wanderer, pale with thought and tears,* 
With heart heroic and prophetic look, 

Comes clasping to his breast the Sacred Book— 

The amulet of Israel through the years! 

“Behold!” he says, “through ages dark with fears, 
Through travail and through miseries that shock 
The soul of Judah, this he ne’er forsook, 

It is his Book—therein his God appears. 


* Felix Gerson. 


543 





544 


“let there be light” 


His Book!—more glorious with supernal light 
Than all the beacons reared by mortal hands, 

Since time first lisped its anguish in the night. 

His Book! That gave a God to all the lands, 

Whose pages shall through Israel reveal 
The wondrous promise grief could not conceal. 

(The procession of Spanish exiles moves on. The old 
rabbi stumbles, but the child raises him, and, lifting the Sefer 
Torah in his arms with difficulty, presses on.) 

Wisdom: The child shall bear the Hope of Israel. 

Grief: 0 Spain, that wantonly cast out the Light! 

Joy 

Yet even now when Spain would quench the Light, 
Across the Sea of Darkness plough three ships, 

Three ships Columbus launched with Jewish gold. 

{To Spanish exiles) 

A blessed beacon rises in the West: 

Columbus finds a land where ye shall dwell 
And know true liberty and lasting peace. 

(The Spanish exiles, the rabbi at their head, pass to 
further end of stage.) 



EPISODE VII 
The Light to Be 

To solemn music a tall figure enters, muffled in a gray 
drapery. It stands in the center of the stage. Joy and 
Grief come slowly down to it, Joy carrying the Torch she 
has taken from the page, who now joins the Spanish group. 
They remove the draperies, revealing a young woman dressed 
as America. 

America (taking the Torch from Joy and holding it on high): 
I lift my Lamp beside the golden door.* 

(Joy and Grief retire to their places. America con¬ 
tinues) : 

A slave to error, Abram wandered far 
That he in Freedom might uphold the Light; 

From Egypt’s slavery, Israel’s sons went forth 
To follow Freedom as their morning star; 

And, like a flame the Maccabees arose, 

Bringing their dear-bought freedom to the world. 

But, free in soul, the Jew hath ever been 
A bondman and a wanderer o’er the earth: 

Egypt oppressed and Syria crushed his soul, 

And Rome o’erwhelmed him, but it could not slay; 

E’en golden Spain sent forth her exile band, 

And Russia wrote upon the blood-stained snow: 

Pass on, 0 Jew, there is no refuge here! 

But I, America, whose builders came 
Seeking the old soul-freedom of the Jew, 

Writing their laws from Israel’s holy Book, 

I, w T ho am Freedom, shed my healing light 
Across the wretched darkness of the world; 

I call the Jew, the ageless wanderer home. 


* Emma Lazarus. 


545 



546 


“let there be light” 


(There enters slowly a group of refugees who might 
have come from Spain in 1492, broken, weary, despairing, 
of every age, women with children in their arms, young 
men, wounded in the defense of countries which have since 
cast them out, half-grown children—all led by an old, old 
man, holding a Torah in his arms and supported by a little 
boy. They pause beside America. They are in the costumes 
of various European immigrants, the old man in Polish 
gabardine, skull-cap and Tallith, the little child in a ragged 
coat, women in shawls.) 

Old Man: We have grown weary in our search for truth. 
America: Bide here and serve the Living Light in Peace. 

Old Man: After long wandering peace is good at last. 

Wisdom (crying out from her place )— 

There is no peace for keepers of the Light: 

While darkness lingers they must suffer still. 

(Pointing) 

Isaiah—Dreamer of the Light to Be, 

Who visioned Israel, wandering o’er the earth, 

Suffering the stripes that heal and cleanse the world! 

An Old Man (as Isaiah enters, a beautiful grave figure such 
as Sargent drew )— 

He was despised and forsaken of men, 

A man of pains and acquainted with disease, 

And as one from whom men hide their face: 

(Boiving before Isaiah) 

Ours were the stripes that heal and cleanse the world, 
Isaiah—Dreamer of the Light to Be. 




547 


“let there be light” 


Isaiah (as one who dreams )— 

And it shall come to pass in the end of days 
That the mountain of the Lord’s house shall be estab¬ 
lished as the top of the mountains, 

And shall be exalted above the hills; 

And all the nations shall flow unto it. 

And many peoples shall go and say: 

“Come ye and let us go up to the mountain of the Lord, 
To the house of the God of Jacob; 

And He will teach us of His ways, 

And we will walk in His paths.” 

For out of Zion shall go forth the Law, 

(Takes Torah from Old Man ) 

And the word of the Lord from Jerusalem, 

And He shall judge between the nations, 

And shall decide for many peoples; 

And they shall beat their swords into plowshares, 

And their spears into pruning hooks; 

Nation shall not lift up sword against nation, 

Neither shall they learn war any more. 

Exiles (repeating prayerfully )— 

Nation shall not lift up sword against nation, 

Neither shall they learn war any more. 

Old Man 

The people that walked in darkness 
Have seen a great Light. 

Isaiah ( commandingly )— 

Yet while the darkness lingers on the earth, 

The Servant of the Light must know no peace. 

Toil on, 0 Seed of Jacob, seek no rest, 

Until the world is one great House of Prayer. 

(The groups who have passed before speak in their turn, 
either standing in their places or after they have taken their 



548 


“let thebe be light” 


position for the processional; the figures of the Interludes 
precede their groups.) 

Abraham (and his group) — 

I sought the Light—and passed it to my son. 

Moses (and his group )— 

The Law of God flashed forth from Sinai’s height; 

The spark we cherished through our desert dream. 

Jeremiah {and his group )— 

We mocked the Light and walked not in its way; 

But wept ’neath willows’ shade in Babylon. 

Isaiah (from his place )— 

Then weep no more—Light shines o’er land and sea— 
Now learn His comfort in Jerusalem! 

Judas Maccabee: We shed our blood and carried on the 
Light. 

Exiles ( from their place) : And we died also that the Light 
might live. 

Rabbi Yochanan ben Zakkai ( and his group) : We ’mid the 
ruins cherished Israel’s Law. 

Spanish Rabbi {following with his group) : ’Twas the one 
treasure that we bore from Spain. 

Isaiah {taking Torch from America and placing it in the 
hands of Old Man )— 

The people without vision surely die: 

Guard thou the Light by which the Nations live. 

Old Main {taking Torch )— 

Like Abraham I served the sacred flame; 

And like him I am blessed in my seed; 

{Gives Torch to child beside him) 

0 son, thou art the Hope of the whole world, 

Bear thou the Torch and bless the earth with Light! 



549 


“let there be light” 


Child (simply): I am a Jew. I carry on the Light! 

(The Exiles, led by America, Isaiah, Old Man and Child, 
carrying the Torch, take their places at the beginning of the 
processional. Here the pageant proper ends; but, if desired, 
any appropriate epilogue written for the occasion may be 
recited by the little Child of the last episode, as in the case 
of the historic celebration at the tiventy-fifth anniversary of 
Isaiah Temple, Chicago. Then Wisdom, with Joy and Grief 
attending her, takes her place at the head of the processional, 
and holding the little Child bearing the Torch by the hand, 
leads the other characters from the scene.) 


% 


I 







PLATES FOR COSTUMES 


The jive costume plates illustrate the 
various methods hy which all the 
costumes necessary for the Biblical 
plays in this volume may be constructed 
by the producer and children them¬ 
selves. In every case the simple tunic 
forms the basis of the costume. 




PLATE I 


Plate I 


The figure to the right wears the simple, straight 
tunic reaching to the knee, which may he worn by 
boys representing shepherds, slaves, peasants or ser¬ 
vants; girls taking male parts may wear the same 
costume. This tunic is best made of cambric or some 
heavier material, and should vary in color according 
to the wearer—white for the shepherd, dark for the 
slave, etc. 

The figure to the left has the same tunic adapted 
for a Maccabean captain. The simple head-dress and 
sandals of the shepherd are replaced by the boots and 
helmet of the warrior; over the tunic are fastened 
the breast-plate and cape, which may be fashioned of 
silver paper over pasteboard. 

The different types of weapons and utensils shown 
at the sides may be made by the actors. 


554 












































PLATE II 























Plate II 


The figure to the right shows how the basic tunic 
(Plate I), trimmed and draped, forms the costume of 
a courtier; distinctive features are the elaborate head¬ 
dress, jewels, fringed girdle and high-laced sandals. 
With more elaborate mantle and accessories, this 
forms the royal costume, as shown on Plate V. 

The costume to the left shows another adaptation 
of the tunic; of ankle length, with broad girdle and 
long flowing sleeves, it may be used for a priest, 
scribe, sage or elder. The high-priest’s breastplate 
and hat, the ink-horn and scroll indicate the appro¬ 
priate characters. One form of this costume is worn 
by Mordecai, on Plate V. 


558 


































































1 











PLATE III 


Plate III 

The figure on the left wears the tunic which forms 
the basis of all the women’s costumes. It may be 
used for a peasant or slave girl, the hair uncovered or 
bound with a simple head-band. This costume, when 
elaborately trimmed, with the addition of jewelry, 
veils, etc., forms the dress of the dancing girls at the 
right. The handmill, basket and vases are generally 
carried by slaves or peasants. 


562 















































































PLATE IV 


Plate IV 

The figure on the left shows the tunic of ankle 
length and with flowing sleeves, which is suitable for 
a handmaiden or woman of the people. When worn 
with an outer robe, more elaborate head-dress and 
jewelry, as on the right, it becomes the costume of a 
court lady or princess. The costume of Esther, shown 
on Plate V, is nothing more than the costume of the 
court lady made of richer material and worn with an 
elaborate crown. The jewelry can be made of card¬ 
board covered with gold or silver paper, with bits of 
bright-colored paper or beads to represent jewels. 


566 





















































































PLATE V 


Plate V 


This shows the well-known scene from the Purirn 
story, where Ahasuerus bestows his signet ring upon 
Mordecai; three types of costumes are presented— 
king, queen and sage. 




570 


BIBLIOGRAPHY 


BIBLIOGRAPHY 


It is hoped that this book will cover the entire field for any school 
for a period of three years. In order to supplement this material, as 
well as to make accessible the large number of references, the author 
gives below the addresses of the various organizations whose publi¬ 
cations have been referred to, as well as books which will supplement 
this work, and which should be available in every religious school. 

Organizations 

Department of Synagog and School Extension, Merchants Bldg., 
Cincinnati, O. 

Bloch Publishing Co., 26 E. 22d St., New York, N. Y. 

Bureau OF Jewish Education (Especially for their Jewish Festival Books), 
lJfO Fifth Ave., New York, N. Y. 

Jewish Publication Society, Broad St. & Girard Ave., Philadelphia, 
Pa. 

Jewish Welfare Board ^Especially the Festival Bulletins), S5Jf Fourth 
Ave., New York, N. Y. 

Young Judea (Especially the Holiday Envelopes), Fifth Ave., New 
York, N. Y. 


Reference Books, Jewish 

The Bible, New Jewish Version, Jewish Pub. Soc. 

Jewish Encyclopedia, Funk & Wagnalls. 

Festival Studies, Israel Abrahams, Greenstone. 

Jewish Life in the Middle Ages, Israel Abrahams, Jewish Pub. Soc. 
Legends^of the Jews, Louis Ginzberg, Jewish Pub. Soc. 

History of the Jews, Heinrich Graetz, Jewish Pub. Soc. 


574 


JEWISH^FESTIVALS IN THE RELIGIOUS SCHOOL 575 

Guide for Instruction in Judaism, Kaufmann Kohler, Philip Cowen. 
Judaism as Creed and Life, Morris Joseph, Macmillan. 

Story of the Jewish People, Jack Myers, Bloch. 

Bible for Home Reading, Claude G. Montefiore, Macmillan. 

Outlines of Jewish History, Lady Magnus, Jewish Pub. Soc. 

Reference Books, Drama 

Pageants and Pageantry, Bates & Orr, Ginn & Co. 

Shorter Bible Plays, Rita Benson, Abingdon Press. 

Festivals and Plays, Percival Chubb, Harper & Bros. 

How to Prepare Tableaux, Samuel S. Grossman, Young Judea 

The Children’s Educational Theatre, Alice Minnie Herts, Harper 
& Bros. 

The Power of Purim and Other Plays, Irma Kraft, Jewish Pub. 
Soc. 

Costumes and Scenery for Amateurs, Constance d’Arcy Mackay, 
Henry Holt & Co. 

The Dramatization of Bible Stories, Elizabeth E. Miller, Univer¬ 
sity of Chicago Press. 

Fiction 

Jewish Child’s Bible Stories, Addie Richman Altman, Bloch. 
Jewish Children, Sholom Aleichem, Knopf. 

Yiddish Tales, Helena Frank, Jewish Pub. Soc. 

The Young Champion, A. S. Isaacs, Jewish Pub. Soc. 

Stories from the Rabbis, A. S. Isaacs, Bloch. 

Under the Sabbath Lamp, A. S. Isaacs, Jewish Pub. Soc. 

A Modern Esther, Emily Goldsmith Gerson, Greenstone. 

Rabbi of Bacharach, Heinrich Heine. 

In Many Lands, Elma Ehrlich Levinger, Bloch. 

Jewish Holyday Stories, Elma Ehrlich Levinger, Bloch. 


576 


BIBLIOGRAPHY 


Playmates in Egypt, Elma Ehrlich Loving er, Jewish Pub. Soc. 
Breakfast of the Birds, Emily Solis-Cohen, Jewish Pub. Soc. 
David the Giant Killer, Emily Solis-Cohen, Jewish Pub. Soc. 
Apples and Honey, Nina Davis Salomon. 

Festival Stories of Child Life in a Jewish Colony in Palestine, 
Hannah Trager, Dutton. 

Idylls of the Gass, Martha Wolfenstein, Jewish Pub. Soc. 

Ghetto Comedies, Israel Zangwill, Macmillan. 

Services and Anthologies 

Union Hymnal, Bloch. 

Sabbath School Hymnal, Dr. I. S. Moses, Bloch. 

New Year and Atonement Services,!)/*. Louis Grossmann, Bloch. 

Children’s Service for Atonement Day, Mrs. Marion L. Misch, 
Bloch. 

Harvest Service, Dr. David Philip son, Bloch. 

The Hanukah Festival, Dr. Louis Grossmann, Bloch. 

A Chanukah Songster, W. W. Binder, Bloch. 

A Purim Songster, W. W. Binder, Bloch. 

Hanukah Services in the Home, Babbi J. Leonard Levy. 

The Jewgsh Year, Alice Lucas, Macmillan. 

Around the Year in Rhymes with the Jewish Children, Jessie 
Sampler, Bloch. 

Standard Book of Jewish Verse, J. Friedlander, Dodd, Mead. 
Hebrew Anthology, George Alexander Kohut, Ark Pub. Co. 

Poems for Young Judeans, Young Judea 


TOPICAL INDEX 














TOPICAL INDEX 


Games Recommended 

I. PURIM GAMES—By Rabbi Harold F. Reinhart Page 

Crowning Queen Esther. 154 

Finding Esther’s Crown. 151 

Mordecai the Jew. 152 

Ten Sons of Haman, The. 154 

Plays Recommended 

I. SUCCOTH 

Ancient Fortress, The —Rufus Learsi . 34 

Golden Staff, The —Elma Ehrlich Levinger and Samuel 

Goldfarb . 34 

How Succotii Came to Chayim —Elma Ehrlich Levinger _ 34 

Who Built the Succah —Samuel S. Grossman . 34 

II. CHANUKAH 

Brass Candelabra, The —Emily Gerson . 70 

Capture, The —Rufus Learsi . 70 

David of Modin —Jacob Liebson . 70 

Dreambook —Henry Woolf . 69 

Enemies of Israel —Louis Broido . 69 

Hannah —Jessie E. Sampter . 70 

Light of Israel —Elma Ehrlich Levinger . 70 

Maccabean Cure, A —Irma Kraft . 69 

Make-Believe Chanukah, A —Joseph Leiser . 69 

Mother of Martyrs —Samuel S. Grossman . 70 

Pictures Out of the Past —Louis Witt . 69 

Unique Chanukah Party, A —Henry Woolf . 69 

Unlighted Menorah, The —Elma Ehrlich Levinger . 69 

What’s Tonight ?—Samuel Grossman . 70 

When the Candles Smoked —Judith Ish-Kishor . 70 




579 
























580 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


Page 

III. PURIM 

Casting of Lots —Abraham Burstein . 123 

Dream of Purim, A —Abraham Burstein . 123 

Esther Queen of Persia —Janie Jacobson . 124 

Esther the Jewish Queen —Edward M. Chapman . 124 

Esther the Queen —Leon H. Elmaleh . 124 

Haman’s Conspiracy —Henry Woolf . 124 

Miriam’s Purim Play —Ruth Levi Wolf . 123 

Pageant of Esther —Elma Ehrlich Levinger . 124 

Purim Basket, The —Emily Goldsmith Gerson . 123 

Purim Players, The —Samuel S. Grossman . 123 

Sick Purim, A —Elma Ehrlich Levinger . 123 

Star of Judah —Elma Ehrlich Levinger . 123 

IV. PASSOVER 

Crumb Conspiracy, The —Samuel S. Grossman . 177 

From the Waters —Elma Ehrlich Levinger . 178 

Gift of Elijah —Elma Ehrlich Levinger . 177 

Matzoh Shalot, The —Emily Goldsmith Gerson . 177 

Out of Egypt —Elma Ehrlich Levinger . 178 

Passover Guest, The —Elma Ehrlich Levinger . 177 

To Save His Country —Irma Kraft . 178 

Silver Cup, The —Elma Ehrlich Levinger . 177 

Trial of Passover, The —Meir Isaacs . 177 

V. SHABUOTH 

Girl from Moab, A —Joseph Leiser . 222 

God is One— Dr. Martin A. Meyer , Milton Marks , Henry Hart 221 

Jephthah’s Daughter —Elma Ehrlich Levinger . 222 

Let There be Light —Elma Ehrlich Levinger . 221 

Lost Scroll, The— Dr. Nathan Krass . 221 

Man with Empty Hands, The —Elma Ehrlich Levinger . 222 

Ruth—A Harvest Festival —Eva Herbst . 222 

Ruth of Moab —Elma Ehrlich Levinger . 221 

Ruth the Moabitess —Janie Jacobson . 222 

Slave from Egypt, The —Judith Ish-Kishor . 221 

Story of the Jew in America, The— Dr. Maurice H. Harris. 222 
Treasure in the Trunk, The— Wm. M. Blatt . 221 

































TOPICAL INDEX 


581 


Recitations Included in Volume 

I. SUCCOTH Page 

All the World Shall Come to Serve Thee—T ranslated 

by Israel Zangwill . 40 

Building of the Succah, The —Elma Ehrlich Levinger . 36 

Corn Song, The —John Greenleaf Whittier . 43 

Father, Here am I —Fannie Barnett Linsky . 42 

Israel and His Book —Felix N. Gerson . 47 

Lord Is My Shepherd, I Shall Not Want, The —Re Henry 41 

Old Succah, The —Sulamith Ish Kishor . 38 

O Lord, We Come with Solemn Thankfulness —Alice Lucas 47 
Palms and Myrtles —Eleazar Kalir —Translated by Alice 

Lucas . 39 

Simchath Torah —Margaret Fireman . 50 

Simchath Torah— C. David Matt . 49 

Song for Succoth, A —Elma Ehrlich Levinger . 48 

Succoth Hymn —Joseph Leiser . 42 

Treasure, The —Elma Ehrlich Levinger . 46 

W t e Thank Thee —Anonymous . 41 

II. CHANUKAH 

Banner of the Jew, The —Emma Lazarus . 104 

Before a Menorah —Elma Ehrlich Levinger . 95 

Candle Dance for Chanukah, A. 80 

Candle Drill— from Judas Maccabeus by Aaron Drucker.. 92 

Chanukah —Margaret Fireman . 86 

Chanukah —Cecelia G. Gerson . 106 

Chanukah —Louis Stern . 83 

Chanukah Dreams— J. Ish Kishor . 81 

Chanukah Hymn —Adolph Huebsch . 105 

Chanukah Lights, The—S abbath School Hymnal. 75 

Chanukah Lights Are Shining —Hadassah . 82 

Chanukah Song, A —Joseph Leiser . 98 

Cruse of Oil, The —Lee J. Levinger . 73 

Eight Chanukah Lights, The —Isidore Myers .. 93 

Feast of Lights, The —Emma Lazarus . 87 

Feast of Lights, The— Mrs. Abram Simon . 97 

Golden Lights —Janie Jacobson . 81 

Jewish Warrior, The— H. Segal . 106 


































582 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


Page 

Joseph’s Candle —Elma Ehrlich Levinger . 79 

Judas Maccabeus to His Soldiers —Elma Ehrlich Levinger 96 
Miracle of the Cruse of Oil, The —Elma Ehrlich Levinger 72 

My Chanukah Candles—P. M. Raskin . 84 

Over the Chanukah Lights —Miriam Myers . 78 

Shammas, The—T ranslated from the original of A. Kulba 

by Dr. II. Berkowitz . 74 

Song of Judas Maccabeus Before the Battle of Maspha 

—Rebekah Hyneman . 99 

Spirit of Chanukah —Elma Ehrlich Levinger . 89 

The Youngest Son—A dapted from Longfellow's Judas 

Maccabeus. 100 

III. PURIM 

About Purim —Miriam Myers . 139 

Blessing on Purim —Jessie E. Sampler . 121 

Dance of the Purim Jesters. 133 

Esther Before the King —Elma Ehrlich Levinger . 133 

Esther Today —Elma Ehrlich Levinger . 146 

Good Purim ! Good Purim —Samuel S. Grossman . 144 

Hadassah —Jessie E. Sampter . 140 

Jolly Jester, The—P rologue to Purim Entertainment— 

Elma Ehrlich Levinger . 142 

Legend for Purim, A—Adapted by Elma Ehrlich Levinger. 144 

Maid of Persia —Harry Weiss . 136 

My Basket—P urim Prologue —Elma Ehrlich Levinger . 126 

Prologue, A—For a Purim Play or Pantomime —Abraham 

Burstein . 143 

Purim —Samuel S. Grossman . 122 

Purim— C. David Matt . 147 

Purim —Myrtilla E. Mitchell . 137 

Purim Harlequinade, A —Joseph Leiser . 135 

Purim Retrospect, A— W. S. Howard . 148 

Purim Wish, A —Abraham Burstein . 134 

Set of Purim Pictures—A rranged by Elma Ehrlich 

Levinger .„. 129 

Sonny’s Purim —Elma Ehrlich Levinger . 127 




























TOPICAL INDEX 


583 


IV. PASSOVER Page 

Burial of Moses —Cecil Frances Alexander . 201 

Chad Gadya—A rranged by Alexander M. Duskin . 184 

Dance of Freedom. 181 

Dance of Miriam’s Maidens. 187 

Heavenly Light, The—A dapted from Max Meyerhardt.... 199 

Little Things —Abraham Bur stein . 194 

Lullaby in Egypt —Elma Ehrlich Levinger . 182 

Mission of Moses —Alice Lucas . 201 

On Passover Eve—T ranslated by Abraham Bur stein . 190 

On the Picture of the Finding of Moses by Pharaoh’s 

Daughter —Charles and Mary Lamb . 182 

Passage of the Red Sea, The —Henry Hart Milman . 192 

Passover —Deborah Klcinert Janovoitz . 180 

Passover, The — R. E. S . 204 

Promise of Spring, The —Elma Ehrlich Levinger . 180 

Seder, The— J. F . 189 

Seder —Miriam Myers . 191 

Seder Dish, The —Sulamith Ish Kishor . 195 

Seder in Whitechapel —Leopold Spero . 195 

Seder Night —Samuel S. Grossman . 188 

Shepherd, The —Joseph Leiser . 202 

Voice Unto Pharaoh, The —Arthur Guiterman . 200 

Why Meyer Likes Pesach —Elma Ehrlich Levinger . 187 

Why We Keep Pesach —Miriam Myers . 196 

V. SHABUOTH 

Abram and Zimri —Clarence Cook . 239 

Faithful Bride, The —Anonymous . 226 

Father, See Thy Suppliant Children —Felix Adler . 245 

Flower Offering —Elma Ehrlich Levinger . 224 

For Love of Torah —Jessie E. Sampter . 242 

Gifts —Emma Lazarus . 231 

Hebrew’s Friday Night —Israel Zangwill . 227 

Israel —Max Meyerhardt . 229 

Mezzuzah, The —Elma Ehrlich Levinger . 224 

Name of Israel —Fannie Barnett Linsky . 226 

Prologue for Shabuoth —Elma Ehrlich Levinger . 234 

Ruth —Thomas Hood .... 246 

Ruth and Naomi —Elma Ehrlich Levinger . 247 

Shabuoth —Miriam Myers ...... ^ .. 234 







































584 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


Page 

Shabuoth Legend, A —Elma Ehrlich Levinger . 236 

Shabuoth Tableau, The Law—A dapted from Mrs. H. H. 

Heniger . 242 

Story for Shabuoth, A—Adapted....,.'. 241 

Stories Recommended as References 
I. SUCCOTH Page 

Before Dawn— from Under the Sabbath Lamp —Abram 

Isaacs . 28 

Bible—E x. 23: 14-17; Num. 29: 12-40; Deut. 16: 13-16; 

Chron. II, 5: 2-14; Psalms 19, 65, 95, 96, 147. 29 

Coward, The—from Jewish Holy day Stories —Elma Ehrlich 

Levinger .28 

Feast of Tabernacles— from Festival Stories —Hannah 

Trager . 28 

Festival Studies —Israel Abrams . 29 

Flag of My People, The— from In Many Lands —Elma 

Ehrlich Levinger . 29 

His Own Succah— from Jewish Holyday Stories —Elma 

Ehrlich Levinger . 28 

History of the Jews— Graetz, Vol. I, II and IV. 29 

In the Tents of Israel— from Playmates in Egypt —Elma 

Ehrlich Levinger . 28 

Jewish Encyclopedia: Succoth and related articles. 29 

Late— from Yiddish Tales—Translated by Helena Frank — 

Abraham Raisin . 28 

May’s Garden— from A Modern Esther —Emily Goldsmith 

Gerson . 28 

Sam’s and Miriam’s Succah —Ibid . 28 

Simchath Torah or Rejoicing in the Law —Ibid . 28 

Story of the Jewish People, The—T he Drawing of the 

Water (Chapter VIII )—Jack M. Myers . 29 

Succoth—The Jewish Thanksgiving— from In Many Lands 

—Elma Ehelich Levinger . 29 

Succoth Manual—P repared by Dr. David Philipson . 29 

Tabernacle, The— from Jewish Children —Sholem Aleichem 

—Translated by Knopf . 28 

Tent of Refuge, The— from In Many Lands —Elma Ehrlich 

Levinger . 29 

Union Hymnal. 29 

























TOPICAL INDEX 


585 


II. CHANUKAH Page 

Bible: The Apocrypha (I Maccabees, 1-4; II Maccabees, 

6-7). 65 

Bible for Home Reading, Vol. II —Montefiore . 65 

Candle Lights— from A Modern Esther —Emily Goldsmith 

Gerson . 64 

Chanukah, The— from Festival Stories —Hannah Trager _ 64 

Festival Studies —Israel Abrahams . 65 

Friends— from Playmates in Egypt —Elma Ehrlich Levinger 64 
Hannukkah Night, A—from The Young Champion— 

Abram S. Isaacs . 64 

Hanukkah Festival, The— Dr. Louis Grossmann . 65 

Hanukkah Services in the Home —Rabbi J. Leonard Levy 65 

History of the Jews, Vol. I —Graetz . 65 

Jewish Encyclopedia: Hanukkah and related articles on 

ceremonials, etc. 65 

Light that Failed, The— from Jewish Holy day Stories— 

Elma Ehrlich Levinger . 64 

Magic Top, The— from Breakfast of the Birds—Translated 

by Emily Solis-Cohen . 64 

Menorah of Remembrance, The— from In Many Lands— 

Elma Ehrlich Levinger . 64 

Moses’ Hanukkah Service. 65 

Outlines of Jewish History —Magnus . 65 

Sacrifice at Modin, The— from David the Giant Killer— 

Emily Solis-Cohen . 64 

Story of Hannukkah, The— from Jewish Child’s Bible 

Stories —Altman . 64 

What the Candles Say— from Apples and Honey— A. S. 

Doniach . 64 

III. PURIM 

Esther— from Jewish Children —Sholom Aleichem —Trans¬ 
lated by Berman . 117 

Festival, The— from Festival Stories of Child Life in a 

Jewish Colony —Hannah Trager . 117 

In Shush an the Capital— from David the Giant Killer— 
Emily Solis-Cohen . 117 





















586 JEWISH FESTIVALS IN THE RELIGIOUS SCHOOL 


Page 

Jewish Encyclopedia: Article Purim, etc. 117 

Modern Esther, A —Emily Goldsmith Gerson . 117 

Purim Players, The— from In Many Lands —Elma Ehrlich 

Levinger . 117 

Purim Pussy, The— from Jewish Holyday Stories —Elma 

Ehrlich Levinger . 117 

Sprig of Myrtle, The— from Playmates in Egypt —Elma 

Ehrlich Levinger . 117 

IV. PASSOVER 

Bible: Exodus, Chap. 1-15. 174 

Breakfast of the Birds, The —Jehudah Steinberg . 173 

Elijah’s Goblet— from Ghetto Comedies —Israel Zangwill. . 173 
Elijah the Prophet— from Apples and Honey—Translated 

by Berman—Sholom Aleichem . 173 

Festival Studies —Israel Abrahams . 174 

Guide for Instruction in Judaism— Dr. K. Kohler . 174 

History of the Jews, Vol. I —Graetz . 174 

Home Again —Ibid . 173 

How Shimmele Became a Sceptic— from Idylls of the Gass 

—Martha Wolfenstein . 173 

Jewish Encyclopedia: Passover and related subjects. 174 

Judaism as Creed and Life, Book II —Morris Joseph ..... 174 
Legends of the Jews, Vols. II and III —Louis Ginzberg . .. . 174 
Luck of the Cohens, The— from A Modern Esther —Emily 

Goldsmith Gerson . 173 

Passover Guest, The— from Yiddish Tales —Sholom Aleichem 173 

Playmates in Egypt —Elma Ehrlich Levinger . 173 

Rabbi of Bacharach —Heinrich Heine . 173 

Real Passover, A—from Jewish Holyday Stories —Elma 

Ehrlich Levinger . 173 

Tale of the Passover, A—from Festival Stories —Hannah 

Trager . 173 

Unwelcome Guest, The— from In Many Lands —Elma 

Ehrlich Levinger . 173 

























TOPICAL INDEX 587 

V. SHABUOTH Page 

Amid the Alien Corn— from David the Giant Killer — 

Emily Solis-Cohen . 215 

Bible: Deuteronomy, Ch. 16: 9-12; Book of Ruth . 215 

Clothes— from Jewish Holyday Stories — Elma Ehrlich 

Levinger . 215 

Festival Studies— Israel Abrahams . 216 

Guide for Instruction in Judaism— Dr. K. Kohler . 216 

Jewish Encyclopedia: Pentecost and related subjects.... 215 

Jewish Life in the Middle Ages— Israel Abrahams . 216 

Judaism as Creed and Life, Book II— Morris Joseph . 216 

Lad Who Brought No Offering, The —from Playmates 

in Israel —Elma Ehrlich Levinger . 215 

Legends of the Jews, Vol. Ill— Louis Ginzberg . 216 

Lessons of the Harvest, The— from Stories from the 

Rabbis —Abram S. Isaacs . 215 

Pentecost, or the Pilgrimage— from Festival Stories — 

Hannah Trager . 215 

Rose for Beauty, A — from In Many Lands — Elma Ehrlich 

Levinger ... 215 






















































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